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®ml)rottiereti  am  Curt? 
ous  JSoofetitttiings  ♦ 


€]^e  pvolitv  Club  of  ti^e 


Citr  of  il^eto  gorlt 


april  16  to  ittat  9.  I9f3 


Po.-\'=\ 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/exhibitionofsilvOOgrolrich 


jcfjtiition  of 


il\jet 


Cmliroitiereti  anD  Curt? 
ous  JSooWintiings;  ♦ 


Cl^e  ^tolitv  Club  of  tl^e 


Citp  of  j?ietD  got* 


apnl  16  to  M^V  9. 1903 


TABLE    OF   CONTENTS 


PAGE 


Silver  Bindings  in  Repouss6  Work  .  3 
Silver  Bindings,  Repousse  and  Pierced  13 
Silver  Bindings,  Engraved  .  .  .  .18 
Silver  Bindings,  Engraved  and 

Pierced 20 

Silver  Bindings,  Filigree 22 

Bindings  of  Various  Materials  Orna- 
mented WITH  Silver 25 

Bindings  of  Other  Metals 33 

Bindings  Ornamented  with  Metals 

other  than  silver 38 

Enamel  Bindings 41 

Bindings  Ornamented  with  Enamels  .  43 

Tortoise-shell  Bindings 45 

Mother-of-pearl  Bindings      ....  48 

Ivory  AND  Horn  Bindings 51 

Wood  Bindings 52 

Lacquer  Bindings 54 

Velvet,  Silk  and  Paper  Bindings  .  .55 
Bindings  of  Curious  Materials  .  .  .57 
Bindings  Ornamented  with  Curious 

Materials 59 

y 


ivi21223 


Table  of  Contents 

Embroidered  Bindings,  on  Linen     .     .  60 

Embroidered  Bindings,  on  Velvet  .     .  64 
Embroidered  Bindings,  on  Silk  and 

Satin 68 

Book-cases 85 


VI 


INTRODUCTORY   NOTE 

Ever  since  1885,  when  Mr.  Robert  Hoe, 
the  first  president  of  the  Club,  gave  an  ad- 
dress on  "  The  Art  of  Bookbinding,"  the 
Grolier  Club  has  offered  constant  encourage- 
ment to  the  binder's  art,  both  by  addresses 
and  by  exhibitions.  A  brief  summary  of 
these  efforts  may  not  be  out  of  place  at  this 
time. 

Two  exhibitions  were  held  in  1886:  one, 
in  February,  contained  notable  examples  of 
the  work  of  the  most  celebrated  binders  be- 
fore 1800,  including  books  from  the  libraries 
of  Grolier  and  other  famous  collectors ;  and 
the  other,  in  May,  with  specimens  of  modem 
French,  English,  and  American  work  exe- 
cuted since  1800.  In  1890  occurred  an 
exhibition  of  "  Recent  Bookbindings,"  exe- 
cuted between  i860  and  1890,  by  French, 
EngHsh,  and  American  binders.  After  the 
Columbian  Exposition  in  1893,  some  of  the 
books  in  fine  bindings,  enamels,  and  other 
vii 


Introductory  Note 

works  of  art,  exhibited  in  the  French  section 
at  Chicago,  were  shown  in  the  Club  rooms. 

It  was  appropriate  that  these  exhibitions  of 
modern  hand-tooled  bindings  should  be  fol- 
lowed, as  they  were  in  1894,  by  a  collection 
of  machine-made  covers,  or  "  Commercial 
Bookbindings." 

"  Books  from  the  Libraries  or  Collections 
of  Celebrated  Bibliophiles  and  Illustrious  Per- 
sons of  the  Past,  with  Arms  or  Devices  upon 
the  Bindings"  was  the  subject  of  an  exhibition 
held  in  1895;  "Recent  American  Bindings 
in  Leather,"  of  one  held  in  1897.  In  1899  a 
collection  of  early  English  decorated  bindings, 
about  which  little  had  then  been  written,  was 
shown.  Last  year  mosaic  binding,  the  high- 
est form  of  the  art,  was  exemplified  in  a  col- 
lection of  remarkable  extent  and  beauty. 

The  present  exhibition  goes  somewhat  out 
of  the  field  of  bookbinding,  as  it  is  commonly 
understood, — that  is,  bindings  of  paper,  cloth, 
or  leather, —  and  deals  with  materials  chiefly 
associated  with  other  crafts,  materials  which 
may  be  said  to  have  been  borrowed  for  the 
purpose.  Bindings  of  silver,  enamel,  tortoise- 
shell,  mother-of-pearl,  and  bone  do  not  at 
first  thought  seem  so  well  adapted  to  the 
covering  of  books  as  do  soft  leathers  or  light 
viii 


Introductory  Note 

and  durable  cloth,  or  paper,  but  a  brief  glance 
at  the  following  catalogue  will  show  that  the 
classes  of  books  so  covered  are  special  ones, 
having  a  special  reason  for  such  treatment. 
Religious  books  have,  from  the  earliest  times, 
reflected  the  reverence  of  their  owners  in  their 
costly  covers  of  ivory,  gold,  and  silver  orna- 
mented with  precious  stones  and  enamels; 
and  even  now  our  prayer-books  and  Bibles 
are  often  bound  in  the  most  elaborate  and 
expensive  manner. 

The  silver  bindings  here  shown  are  chiefly 
of  the  17  th  and  i8th  centuries,  and  are 
mostly  the  work  of  German,  Dutch,  and 
Flemish  craftsmen.  They  are  almost  invari- 
ably found  on  Bibles,  prayer-books,  and  re- 
ligious works.  The  same  is  true  of  books 
bound  in  tortoise-shell. 

Silk  and  velvet  ornamented  with  metals 
have  always  been  much  used,  and  especially 
for  royal  bindings. 

Among  the  materials  called  curious  are 
those  with  which  the  bibliophile,  in  his  search 
for  the  unusual  or  the  specially  appropriate 
or  significant,  clothes  his  books. 

The  books  in  embroidered  covers  bound 
by  the  English  in  the  17th  century  are  mainly 
religious  in  character,  while  the  French  in  the 
ix 


Introductory  Note 

next  century  put  their  gay  embroideries  upon 
little  almanacs  and  other  books  of  a  trivial 
character. 

The  following  quotation  taken  from  Eng- 
lish Embroidered  Bookbindings,  by  Cyril 
Davenport,  London,  1899,  will  explain  our 
division  of  the  books  in  embroidered  bindings : 

"With  very  few  exceptions  all  embroidered 
books,  ancient  and  modern,  are  worked  on 
canvas,  velvet,  or  satin,  and  while  canvas  was 
used  continuously  from  the  fourteenth  century 
until  the  middle  of  the  seventeenth  century, 
velvet  was  most  largely  used  during  the 
Tudor  period,  and  satin  during  that  of  the 
early  Stuarts. 

"Broadly  speaking,  the  essential  differences 
in  the  kind  of  work  found  upon  these  three 
materials  follow  the  peculiarities  of  the  ma- 
terials themselves.  Canvas,  in  itself  of  no 
decorative  value,  is  always  completely  covered 
with  needlework.  Velvet,  beautiful  even  when 
alone,  but  difficult  to  work  upon,  usually  has 
a  large  proportion  of  applique,  laid,  or  couched 
work,  in  coloured  silk  or  satin,  upon  it,  show- 
ing always  large  spaces  unworked  upon,  and 
such  actual  work  as  occurs  directly  on  the 
velvet  is  always  in  thick  guimp  or  gold  cord. 
Satin,  equally  beautiful  in  its  way,  is  also  fre- 
quently   left   unornamented   in   places;    the 


Introductory  Note 

needlework  directly  upon  it  is  often  very  fine 
and  delicate  in  coloured  floss  silks,  generally 
closely  protected  by  thick  raised  frames  or 
edges  of  metallic  threads,  or  fine  gold  or  sil- 
ver cords.  ..." 

Mr.  Davenport's  book  was  the  first  to  deal 
with  any  of  the  classes  of  bindings  here  ex- 
hibited, as  a  separate  subject.  Outside  of  it, 
the  literature  is  confined  to  scattered  refer- 
ences in  histories  of  bookbinding,  and  to  a 
few  magazine  articles. 


XI 


Cmbroitreret!  anti  Curious; 
TBookbinOmgs; 


SILVER  BINDINGS 
IN  REPOUSSE  WORK 

1  A  RMENIAN  binding  of  the  i6th  century. 
jLjL  (29.5  X  20.3  cm.) 

Each  cover  is  made  up  of  five  separate 
pieces  joined  with  silver  nails;  and  these  sil- 
ver sides  are  laid  on  leather  and  laced  across 
the  back  with  silk  cords  passing  through 
small  silver  eyelets.  On  the  front  cover, 
surrounded  by  a  border  of  Persian  ornament 
and  above  a  text  in  Russian  characters,  is  a 
representation  of  The  Annunciation,  and  of 
The  Circumcision;  on  the  back  cover  a  sim- 
ilar border  surrounds  a  representation  of  The 
Last  Judgment,  and  Christ  in  Glory. 

Gospel  Lessons. 

A  sixteenth  century  manuscript,  executed  for  a  Mon- 
astery in  CcBsarea,  in  Cappadocia. 

2  T^UTCH    binding  of  the   i8th   century, 
VJ  silver-gilt.     (3  x  6.2  cm.) 

A  figure  of  Autumn  is  represented  on  the 
front  cover,  and  one  of  Summer  on  the  back 


Exhibition  of  Silver^  Embroidered 

'  cbVet. '  ''They  'ai-e  framed  by  a  cartouche  and 
surrounded  by  a  border. 

Almanach.  Amsterdam,  1774. 

3  T^UTCH   binding   of  the    i8th   century. 
jLJ  (29.7  X  20.2  cm.) 

Large  arabesques  with  tulips  and  a  crown 
surround,  on  both  covers,  a  cartouche  con- 
taining the  chrisma  and  signs  of  the  Passion ; 
the  back  is  divided  into  five  panels ;  clasps. 

4  T^UTCH   binding  of  the    19th  century. 
U  (6.5  X  2.8  cm.) 

Almanach.  Amsterdam,  1806. 

5  T7LEMISH  binding  made  about  1600;  in 
JL    high  relief.     (27  x  20  cm.) 

The  front  cover  panel  represents  Judah 
smiting  off  the  thumbs  of  Adonai  Bezeh^  and 
bears  the  inscription  Jvdicvm  Cap.  I ;  the 
panel  of  the  back  cover  shows  The  Death  of 
Sisera,  Jvdicvm  Cap.  IV.  On  both  there  are 
corner-pieces  covered  with  fruits  and  heads. 
On  the  back  are  four  reliefs  illustrating 
scenes  from  Jehosvah^  Cap.  II,  VI,  and  X. 
There  are  clasps  and  end-pieces. 

Bible.    Books  of  Joshua,  Judges,  Samuel, and  Kings. 
Hebrew  manuscript  on  vellum  {about  1460). 

4 


and  Curious  Bookbindings 

6  T7LEMISH  binding  of  the  17th  century; 
1.     silver-gilt.     (15.4x11cm.) 

Each  cover  has  a  long  central  panel  di- 
vided into  four  compartments.  On  either 
side  of  this  central  panel  is  a  narrower  panel 
bearing  etched  figures  of  the  Apostles  under 
Gothic  canopies,  three  on  a  side,  and  one 
above  the  other.  The  reliefs  on  the  front 
cover  represent  The  Crucifixion,  two  emble- 
matic figures  above,  and  a  panel  of  orna- 
ment below ;  those  on  the  back  cover,  Re- 
ligious Inspiration  and  other  emblematic  fig- 
ures. The  back  panels  represent  three 
scenes  from  the  Hfe  of  Christ.  The  clasps 
and  end-pieces  are  chased  with  allegorical 
figures. 

Book  of  Hours. 

German  manuscript  of  the  ijth  century,  written  on 
vellum. 

7  T7RENCH  binding  of  the  17th  century; 
X  silver  and  silver-gilt  in  very  high  relief. 
(33.9  X  24  cm.) 

The  relief  on  each  cover  represents  a  scene 
from  the  life  of  Christ,  or  of  the  Virgin ;  they 
are :  The  Virgin  and  St.  John  at  the  Cross, 
The  Resurrection,  The  Last  Judgment  and 
The  Annunciation.  The  figures,  in  very  high 
relief,  are  of  silver-gilt  with  flesh-parts  of 
silver ;  the  details  in  the  background  are  en- 

5 


Exhibition  of  Silver^  Embroidered 

graved.  The  panels  are  sunk  deep  into  the 
oak  boards  to  which  they  are  fastened,  and 
are  framed  with  a  moulding  of  silver  and  gilt ; 
clasps  with  floriated  scrolls,  pierced  and  fas- 
tened on.  The  backs  of  the  volumes  are  red 
velvet. 

Holy  Bible.     Books  of  Matthew  and  Luke. 
Illuminated  manuscript. 

8  T7LEMISH  binding  of  the  17th  century. 
X     (16.6x9.8  cm.) 

On  the  front  cover,  within  a  framework  of 
scrolls  and  cherubs*  heads,  is  a  panel  repre- 
senting Moses  with  the  Tables  of  the  Law  ; 
on  the  back  cover,  within  a  similar  frame,  is 
a  representation  of  Aaron;  the  back  is  di- 
vided into  three  panels.  The  clasp  has  a 
figure  of  St.  Anna,  chased ;  and  the  ends  are 
in  the  form  of  cherubs'  heads. 

Biblia.  Lemgo,  1731. 

9  f~^  ERMAN  binding  made  about  1670;  in 
\J  high  relief.     (12.3  x  6  cm.) 

The  covers  have  central  panels  surrounded 
by  a  framework  of  cupids  and  garlands,  the 
one  representing  Prayer^  and  the  other  Re- 
ligious Zeal.  The  back  has  a  figure  of  Hope, 
The  ends  and  clasps  are  in  the  form  of  cupids* 
heads. 

Katholifches   Gebetbuch    .    .    .    Gefchreiben   Anno 
1715- 

6 


and  Curious  Bookbindings 

10  r^  ERMAN  binding  of  the  17th  century; 
VjT  in  a  very  delicate  pattern,  showing  Per- 
sian influence.     (12.5  x  7.3  cm.) 

A  pencil  note  says  :  cover  by  The  Hot  of  Augs- 
burg. 

Wohlriechendes  Rosengartl,  1699. 

11  /^^  ERMAN  binding  of  the  17th  century; 
Vj  in  high  relief.     (12.9  x  6  cm.) 

The  Nativity,  in  a  panel  with  tulips,  on  the 
front  cover;  The  Crucifixion  on  the  back 
cover;  The  Resurrection  on  the  back,  and 
the  end-pieces  of  angels'  heads ;  the  clasps 
are  chased. 

Seelen-Schmuck,  1679. 

12  r^  ERMAN  binding  of  the  17th  century. 
Vj  (12.2x6.4  cm.) 

The  relief  on  the  front  cover  represents 
Religious  Meditation;  that  on  the  back 
cover.  Autumn;  the  clasps  and  end-pieces 
are  chased. 

Geiftliche  Andachten.     1698. 

13  /^^  ERMAN  binding  of  the  17th  century. 
VJ  (12.1x5.5  cm.) 

The  Annunciation  is  represented  on  the 
front  cover,  and  The  Nativity  on  the  back 
cover;  the  back  is  divided  into  panels,  with 
a  figure  of  Faith  in  one,  Hope  in  another, 

7 


Exhibition  of  Silver,  Embroidered 

and  the  inscription  Anna  Dorothea  Herbers, 
A.  i6qj  in  a  third.  The  clasps  and  end- 
pieces  are  pierced  and  chased. 

Die  Geiftliche  Ruft  und  Schatzkammer. 

Nurnberg,  1686. 

14  /^^  ERMAN  binding  of  the  17th  century; 
Vj  in  high  relief,  silver-gilt.   (18.8  x  12  cm.) 

On  each  cover  and  the  back  is  a  panel, 
surrounded  by  a  Louis  XV.  border,  and 
representing  severally  The  Resurrection,  The 
Baptism  of  Christ,  and  The  Crucifixion.  The 
clasp  is  chased  with  a  cherub's  head. 

15  /^  ERMAN  binding  of  the  17th  century. 
Vj  (18  X  12  cm.) 

A  richly  repousse  pattern  ornaments  the 
covers  and  back.  In  a  central  cartouche 
on  the  front  cover  are  the  initials  Z.  S.  H., 
and  on  the  back  F.  i?.  The  clasps  and 
end-pieces  are  chased. 

Biblia  Sacra.  Cologne,  1679. 

16  f^  ERMAN  binding  of  the  17th  century;  in 
Vj  h igh relief;  signed  7y^^/(?r.  (14x6.4cm.) 

On  the  front  cover  is  a  representation  of 
The  Last  Supper;  on  the  back  cover.  The 
Baptism  of  Christ;  on  the  back.  The  Cruci- 
fixion, and  two  small  reliefs.  The  clasps  and 
end-pieces  are  chased  with  religious  emblems, 
8 


and  Curious  Bookbindings 

a  ewer  and  basin,  the  Communion  vessels, 

etc. 

Arndt,  Johann.     .     .     .     Paradiefz-Gartlein. 

Ulm,  1620. 

17  r^  ERMAN  binding  of  the  i8th  century. 
VT  (15.5x7.5  cm.) 

The  Annunciation  is  represented  on  the 
front  cover;  The  Nativity^  on  the  back  cover; 
and  the  clasps  and  end-pieces  are  chased 
with  angels'  heads. 
Kleinknecht,  Immer  Quellender  Brunn.    Ulm,  1735. 

18  /^  ERMAN  binding  of  the  i8th  century. 
VjT  (18.5x10.7  cm.) 

The  covers  are  each  divided  into  three 
panels  and  a  Louis  XV.  border.  On  one 
side  are  Cain  and  Abel,  Moses  Giving  the 
Laws,  and  Lofs  Wife;  on  the  other,  The 
Annunciation,  Christ  Blessing  the  Children, 
and  Christ  at  the  Well.  The  back  is  divided 
into  three  panels,  ornamented  with  biblical 
scenes.  The  clasp  has  a  figure  of  Saint 
John  the  Baptist,  and  the  end-pieces  are  in 
the  form  of  cherubs'  heads. 

[Holy  Bible.]  Leipzig,  1755. 

19  /^  ERMAN  binding  of  the  i8th  century. 
VT  (11.8x8.4  cm.) 

The  covers  are  each  divided  into  a  border, 
and  a  panel  containing  corner-pieces  and  a 

9 


Exhibition  of  Silver^  Embroidered 

central  medallion.  Two  hands  reaching  for 
a  crown  are  represented  on  the  front  cover, 
and  a  double-headed  eagle  on  the  back ; 
clasp. 

20  r^  ERMAN  binding  of  the  i8th  century. 
Vj  (15-2  y^(i.2>  cm.) 

The  Baptism  of  Christ,  with  emblematic 
vines,  leaves,  and  angels,  is  represented  on 
the  front  cover,  The  Last  Supper^  on  the 
back  cover,  and  Victory  on  the  back.  The 
clasps  and  end-pieces  are  chased. 

Geiftlicher  Perlen-Schmuck.  Nuremberg,  1713- 

21  r^  ERMAN  binding  of  the  i8th  century. 
vT  (16.6x7  cm.) 

A  figure  of  Faith  in  a  panel  surrounded 
with  a  Louis  XV.  framework,  and  with  the 
inscription  Wer  Hertzlich  Liebt  Den  Glauben 
Ubt  under  it,  ornaments  the  front  cover;  on 
the  back  cover  is  a  figure  of  Charity  with 
the  inscription  Wer  gern  Vergibt  Der  wirdf 
Geliebt,  and  on  the  back  a  figure  of  Hope. 

Liebes-Mahl.  Ulm,  1746. 

2  2  f^  ERMAN  binding  of  the  i8th  century. 
Vjr  (17.5x10.5  cm.) 

The  covers   and  the   back  are   severally 
decorated  with  The  Nativity,  The  Adoration 
10 


and  Curious  Bookbindings 

of  the  Magi,  and  The  Annunciation.  The 
end-pieces  in  the  form  of  cherubs'  heads  are 
repouss6,  and  the  clasps  are  chased. 

Himmlifcher  Seelen- Magnet. 

Regenfpurgzu  Stadt  am  Hoff,  1700. 

23  /^^ERMAN  binding  of  the  i8th  century. 
Vjr  (13.2x7.2  cm.) 

Figures  of  Faith,  Hope  and  Charity  are 
represented  on  the  covers  and  back  respec- 
tively, with  flowers  and  fruits.  The  end- 
pieces  are  engraved  and  pierced;  the  clasps 
repousse. 

24  r^  ERMAN  binding  of  the  i8th  century. 
Vj  (2.4  X  1.7  cm.) 

The  sides  are  ornamented  with  a  delicate 
design;  in  a  silver-gilt  box  shaped  like  a 
book,  with  a  clasp,  and  ring  for  a  chain. 

Wiinsche  zum  Beylager.  Berlin,  1767. 

25  /^^ERMAN  binding  of  the  i8th  century; 
vJ  signed.     (10.6  x  6.2  cm.) 

On  each  cover  is  a  coat-of-arms  in 
a  cartouche  surmounted  by  a  crown.  A 
framework  of  Louis  XV.  ornament  surrounds 
them,  and  covers  the  back.  The  clasp  is 
pierced  and  chased. 

II 


Exhibition  of  Silver,  Embroidered 

26  r^  ERMAN  binding  of  the  i8th  century. 
VT  (11.8x7.5  ^"^•) 

The  front  cover  has  a  representation  of 
The  Brazen  Serpent,  the  back  cover  shows 
The  Crucifixion,  and  the  back  The  Tables  of 
the  Law;  in  panels  framed  with  Louis  XV. 
ornament. 

Communion-Buch.  Augsburg,  1757. 


27  r^  ERMAN  binding  of  the  18th  century; 
Vj  silver-gilt  in  high  relief;  pierced  clasps, 
(lo.i  :L(i.^  cm.) 

Officium  beate  Virginis  Marie. 


28  r^  ERMAN  binding  of  the  19th  century; 
VT  the  front  cover  has  a  representation  of 
The  Nativity.  The  Resurrection  is  repre- 
sented on  the  back  .  cover,  and  Religious 
Meditation  on  the  back.  Louis  XV.  borders 
surround  them. 


29  AMERICAN  binding  of  the  19th  cen- 
±\.  tury,  by  the  Gorham  Company.  (10 x 
6.9  cm.) 

The  covers  have  a  border,  and  a  cross  in  a 
central  panel  on  the  front ;  clasp. 

Book  of  Common  Prayer. 
12 


and  Curious  Bookbindings 

30  AMERICAN  binding,  19th  century; 
±\.  buffalo-hide  portfolio  with  repousse 
silver  panel  on  the  front  cover  in  a  design  of 
chrysanthemums  and  leaves.  By  the  Gorham 
Company. 


SILVER  BINDINGS— REPOUSSE 
AND  PIERCED 

31  T\UTCH  binding  of  the  17th  century;  in 
iJ  a  design  of  tulips  and  other  flowers; 
over  silver-gilt.     (15x8  cm.) 

The  clasps  are  chased  and  pierced  with  a 
strap  ornament. 

32  T7NGLISH  binding  of  the  i8th  century. 
\_j  (27.8  X  1 1.3  cm.) 

The  covers  have  a  design  of  foliage  and  a 
central  coat-of-arms  upheld  by  two  lions 
rampant.  The  clasps  are  repouss6 ;  the  end- 
pieces  engraved.  A  chain  with  which  to 
carry  the  book  is  fastened  to  the  top. 

Book  of  Hours. 

Flemish  manuscript  of  the  i^th  century. 

33  T7NGLISH  binding  of  the  19th  century; 
Hj  silver- gilt  over  velvet.     (40.7  x  26  cm.) 

The  covers  have  five  medallions  with 
figures  of  cupids  at  play.     These  are  joined 

13 


Exhibition  of  Silver^  Embroidered 

by  a  pierced  strap-work,  with  heads,  birds, 
animals,  and  vases  of  flowers.  A  narrow 
chased  border  surrounds  the  whole.  The 
back,  in  one  panel,  has  cupids  and  garlands. 
The  clasps  are  chased  and  pierced. 
Bull,  George,          Opera  Omnia.         London,  1721. 

34  T7LEMISH  binding  of  the  19th  century. 
X     (14x9.6  cm.) 

On  each  cover  an  elaborate  framework  of 
cupids,  heads,  and  garlands  forms  a  panel ; 
in  one  is  represented  The  Nativity^  and  in 
the  other  The  Ascension ;  on  the  back  is  a 
figure  of  Piety.  The  clasps  have  half-length 
figures  of  boys  with  garlands. 

Vaughan,  William.     The  Church  Militant.      .     .     . 

London,  1640. 

35  T7RENCH  binding  of  the  i8th  century; 
X^   silver-gilt,  over  velvet.    (16x10  cm.) 

On  the  front  cover  is  T?Le  Virgin  and 
Child,  and  on  the  back  cover  The  Vision 
of  St.  Francis;  both  are  surrounded  by  a 
rococo  framework  with  cherubs.  The  back 
is  in  one  long  panel;  the  clasps  and  end- 
pieces  are  chased. 

36  T7RENCH  binding  of  the  period  of  Louis 
X  XVI.;  silver-gilt,  in  a  design  of  archi- 
tectural scroll-ornament,  flowers  and  a  figure 

14 


and  Curious  Bookbindings 

of  Faith  on  the  front  cover,  and  Hope  on  the 
back  cover.    (16.5  x  9  cm.) 

37  r^  ERMAN  binding  of  the  i8th  century; 
\J  silver-gilt.     (19.2  x10  cm.) 

Each  cover  has  a  pierced  framework  of 
Gothic  foliage  and  birds,  the  design  being 
broken  on  either  side  of  the  central  panel  by 
a  small  statuette.  The  panel  on  one  cover 
represents  The  Nativity,  and  on  the  other 
The  Ascension.  Fastened  on  the  center  of 
the  back  is  the  coat-of-arms  of  a  pope,  in 
high  relief.  The  clasps  are  pierced  and 
chased. 

38  r^  ERMAN  binding  of  the  17th  century; 
Vj  over  velvet.     (12.5  x  6.5  cm.) 

The  covers  each  have  a  panel  of  pierced 
design  with  central  medallions,  one  repre- 
senting Hope  and  the  other  Faith.  The 
long  panel  of  the  back  is  pierced  in  a  similar 
design,  with  a  head  of  a  cherub  in  the  cen- 
ter; and  the  clasp  is  pierced  and  chased 
with  the  figure  of  an  eagle. 

Pocket  Bible.  London,  182 1. 

39  f~^  ERMAN  binding  of  the  iSth  century; 
VT  in  a  large  design  of  cupids,  cupids' 
heads,  and  garlands.  The  arms  of  Mai 
Conte  de  Reyling  are   on   the  front  cover, 

15 


Exhibition  of  Silver^  Embroidered 

and  a  crown  on  the  back  cover.  The  end- 
pieces  and  clasps  are  chased  with  the  same 
motives.     (17.5  x  10  cm.) 

Eines  . . .  Verfuchs  zur  Uberfetzung  der  Hiftorischen 
Bucher  Neuen  Testaments.        Biidingen,  1739. 

40  r^  ERMAN  binding  of  the  i8th  century; 
vT  silver  and  silver-gilt,  over  morocco. 
(13.3x7  cm.) 

The  covers  and  back  have  central  car- 
touches in  silver-gilt,  bearing  severally  the 
monograms  and  date,  G.  M.  R.,  D.  S.  R., 
and  lyii.  The  clasps  and  end-pieces  have 
silver-gilt  ornaments  on  silver. 

Luther,  Martin,   Enchiridion  Piarum  Precationum. 

Witebergae,  1560. 

41  f~^  ERMAN  binding  of  the  i8th  century; 
\J  over  morocco;  Nuremberg  mark.  (16 x 
8.5  cm.) 

On  both  covers  is  a  scene  from  the  life  of 
Christ,  surrounded  by  a  Louis  XV.  frame- 
work, with  figures  of  the  Apostles,  six  on 
either  side.   The  clasps  and  back  are  chased. 

42  r^  ERMAN  binding  of  the  i8th  century; 
\y  over  velvet.     (17.4x11.1  cm.) 

A  pattern  made  up  of  various  kinds  of  or- 
nament is  used  on  the  covers  and  back.     In 
16 


and  Curious  Bookbindings 

the  middle  of  the  covers  and  the  clasp  is  a 
silver-gilt  cartouche  with  the  monogram  of 
Christ,  The  Virgin  and  Joseph.  The  clasp 
is  engraved :  H.^  I.  G.  6".,  17 41. 

43  r^  ERMAN  binding  of  the  i8th  century. 
VT  over  fish- skin.     (17  x  7.4  cm.) 

A  cleverly  contrived  effect  of  a  hall  in 
perspective  is  produced  by  the  use  of  a 
chased  background  framed  by  a  Louis  XV. 
border  in  high  relief.  The  front  cover  bor- 
der has  a  female  figure  sacrificing,  called 
Oraiio;  the  back  cover,  Et  Fides.  The  clasps 
are  chased. 

Communion  Biichlein.  Nurnberg,  I750- 

44  T  TALI  AN  binding  of  the   17th  century ; 
X  over  velvet.     (26  x  26.5  cm.) 

A  repousse  and  pierced  border  in  one 
piece  frames,  on  the  front  cover,  The  Cruci- 
fixion with  The  Virgin  and  St.  John,  which, 
like  the  stars,  angels'  heads  and  Four  Evan- 
gelists studded  on  the  panel,  are  fastened 
in  place  with  small  nails. 

The  Resurrection,  with  four  emblematic 
figures,  fills  the  panel  of  the  back  cover.  The 
back,  in  a  long  panel,  is  repouss^  and  pierced ; 
the  clasps  chased  and  pierced  in  floriated 
scrolls. 

2  17 


Exhibition  of  Silver,  Embroidered 

45  AMERICAN  binding  of  the  19th  century, 
l\.  by  the  Gorham  Company.  (12.6  x  8 
cm.)  Black  morocco  with  passion-flowers 
and  a  cross  in  silver-gilt  on  the  front  cover, 
and  carbuncles  set  at  the  corners. 

The  Book  of  Common  Prayer. 


46  AMERICAN  binding  of  the  19th  cen- 
l\.  tury;  elephant  hide,  with  a  panel  of 
silver  on  the  front  cover,  in  an  elaborate  de- 
sign of  violets  and  another  flower. 

Portfolio. 


SILVER  BINDINGS 
ENGRAVED 

47  T^UTCH  binding   of  the    i8th   century. 
jLJ  (ii  X  6.2  cm.) 

In  the  middle  of  the  front  cover,  which 
is  engraved  with  Renaissance  ornament,  is 
a  dial  having  a  movable  hand  to  show  the 
days  of  the  month ;  the  back  cover  is  in  the 
form  of  a  calendar,  and  gives  the  signs  of 
the  zodiac,  the  number  of  days  in  the  month, 
the  festivals  and  holidays,  the  length  of  the 
days  and  nights,  and  the  rising  and  setting 
18 


and  Curious  Bookbindings 

of  the  sun.     The  covers   are   fastened   by 

means  of  a  pencil. 

Nieuwe  Nederlandsche  Almanach,  1795. 


48  T7RENCH  binding  of  the  i8th  century; 
JL     silver-gilt.     (2.1  x  1.6  cm.) 
La  Reveille.  Paris,  1767. 


49  r^  ERMAN  binding  of  the  18th  century; 
Vj  silver- gilt.     (11  x  6.5  cm.) 

The  covers  have  central  medallions  and 
comer-pieces  engraved  with  religious  em- 
blems and  inscriptions  in  German.  A  fine 
arabesque  of  flowers  and  leaves  connects 
them.  The  arabesques  are  repeated  on  the 
back;  the  clasps  and  end-pieces  have  the 
same  design. 

Terentius.  Paris,    1544. 

50  OILVER  tablet  in  the  shape  of  a  hom- 
O  book;  engraved  with  the  Spanish  alpha- 
bet and  syllabary,  and  a  border  of  scrolls. 
In  the  border,  at  the  right,  is  a  ring  to  hold 
the  silver  pointer,  and  another  ring,  just 
above  the  handle,  is  for  a  cord  by  which  to 
suspend  it.  A  unique  example,  unknown 
to  Tuer;  from  South  America.  (16.7  x  12 
cm.) 

19 


Exhibition  of  Silver^  Embroidered 


SILVER  BINDINGS— ENGRAVED 
AND  PIERCED 

51  r^  ERMAN  binding  of  the  17th  century; 
VT  over  morocco.     (15.4  x  6  cm.) 

A  medallion  on  one  cover  is  engraved  with 
Christ  in  the  Manger ;  on  the  other,  Saint 
George  and  the  Dragon;  they  are  surrounded 
by  a  design  of  conventionalized  flowers  and 
leaves. 

Hertz-Schreinlein.  Dresden,  1675. 

52  r^  ERMAN  binding  of  the  i8th  century ; 
VT  over  velvet.     (16.4  x  7.3  cm.) 

The  covers,  back,  clasps,  and  end-pieces 
are  decorated  with  fine  arabesques  of  fohage 
and  flowers.  There  are  small  medallions  en- 
graved with  emblematic  figures  in  the  center 
of  the  covers,  and  back. 
Gatt-geheiligter  Rauch- Altar.       Onolzbach  [or  d.]. 

53  r^  ERMAN  binding  of  the  i8th  cen- 
VT  tury;  silver-gilt;  over  mother-of-pearl. 
(8.4  X  6.3  cm.) 

Central    engraved  medallions,   on  either 
20 


and  Curious  Bookbindings 

cover,  represent  The  Annunciation  and  The 
Nativity. 

54  r^  ERMAN  binding  of  the  i8th  century; 
VJT  silver-gilt  over  silver.     (10.5  x  6.8  cm.) 

Flowers  and  leaves  in  a  delicate  arabesque 
pattern  cover  the  sides,  back  and  clasps. 

Geistliche  Sommer  Rosen.  Munich,  1650. 

55  r^  ERMAN  binding  of  the  18th  century ; 
VT  silver  over  silver-gilt.      (15.2  x  6.8  cm.) 

A  deUcate  arabesque  of  tulips  and  leaves 
is  used  on  the  covers,  back,  clasps  and 
end-pieces.  The  covers  have  central  medal- 
lions, one  of  S.  Anna,  the  other  of  S.  Cris- 
tina,  and  smaller  emblematic  comer-pieces ; 
on  the  back  is  a  monogram  surmounted  by 
a  crown. 

Hand-Haufz  und  Kirchen-Buch.          Leipzig,  1700. 

56  r^  ERMAN  binding  of  the  19th  century; 
VT  over  velvet;  signed.     (18  x  11  cm.) 

An  arabesque  of  leaves  covers  the  sides ; 
the  back  is  divided  into  panels,  the  alternate 
ones  being  pierced.  The  clasp  bears  a 
shield  with  two  coats-of-arms  surmounted  by 
a  coronet. 

Albach,  J.   S.       Saintes   Harmonies. 

Vienne  (abt.  1840). 
2*  21 


Exhibition  of  Silver,  Embroidered 

57  r^  ERMAN  binding  of  the  i8th  century  ; 
Vj  (1.9  X  1.3  cm.) 

The  front  cover  bears  the  initials  A.  6*., 
and  the  back  cover  D.  G.  The  text  of  the 
book  is  engraved  on  silver  leaves. 

58  r^  ERMAN  binding  of  the  i8th  century; 
VT  over  silver-gilt.     (5.5  x  4.5  cm.) 

A  delicate  arabesque  of  leaves  and  flowers 
covers  the  sides  and  back.  The  clasps  are 
etched  with  a  similar  pattern. 

Kuslin,  C.   &  M.,  Engravers.      Defz  Alten  Testa- 
ments Mittler. 


59  T7RENCH  work  of  the  i8th  century;  sil- 
17  ver-gilt  and  silver  in  a  Chinese  pattern 
over  morocco  ;  a  miniature  with  a  landscape 
set  in  the  front  cover.    (8.8  x  5.5  cm.) 


SILVER   BINDINGS  —  FILIGREE 

60  T^RENCH  binding  of  the  17th  century; 
X  fine  silver  filigree,  with  surface- enamel 
center,  and  comer-pieces  on  the  covers,  which 
are  also  studded  with  a  circle  of  amethysts; 
engraved  clasps.  (8.4  x  4.9  cm.) 
22 


and  Curious  Bookbindings 

The  enamels  are  painted  with  scenes  from 
the  life  of  The  Virgin,  angels  and  saints. 

Ofi&cium  Beatas  Mariae  Virginis.  Paris,  1673. 


61  "T^RENCH  binding,  17th  century;  filigree 
X  over  silver;  corner-pieces,  and  central 
medallions  of  enamel  painted  with  the  heads 
of  saints ;  amethysts  are  set  around  the  cen- 
tral medallions.  (8  x  4.5  cm.) 

Officium  Beatse  Mariae  Virginis.  Paris,  1673. 


62  r^  ERMAN  binding  of  the  i8th  century; 
VT  silver-gilt,  over  maroon  velvet.  (17  x 
9.3  cm.) 

A  border  with  arabesques  of  leaves  and 
flowers  extends  around  both  covers  and  the 
back ;  the  clasps  and  end-pieces  are  of  a  simi- 
lar character. 


63  /^^  ERMAN  binding,  18th  century;  over 
VT  blue  velvet.  {14.2  x  7.7  cm.) 

The  sides  and  back  are  bordered  with  ara- 
besques; in  the  middle  of  the  covers  are 
filigree  cartouches,  one  with  the  chrisma,  the 
other  with  MAR.  The  clasps  and  end- 
pieces  are  of  filigree. 

Gertruden  Buch.     1692. 

23 


Exhibition  of  Silver^  Embroidered 

64  r^  ERMAN  binding  of  the  i8th  century; 
VT  in  the  middle  of  both  covers,  which  are 
of  silver-gilt,  repousse,  is  a  silver  filigree 
panel  surrounding  a  blue  enamel  medallion 
bearing  a  coat-of-arms  in  black  and  white. 
At  the  sides  of  the  medallion  are  enamel 
flowers.  The  clasps  are  chased,  the  end- 
pieces  engraved,  and  the  back  repouss6. 
(13  X  6.4  cm.) 

65  r^  ERMAN  binding,  19th  century;  silver 
vT  and  silver-gilt  filigree  with  cloisonn6 
enamels.     (14.3  x  8  cm.) 

The  sides,  back,  and  clasp,  which  extends 
the  whole  height  of  the  binding,  are  of 
elaborate  workmanship  in  arabesques.  The 
covers  have  bosses  at  the  corners,  and  cen- 
tral medaUions  with  the  chrisma  and  the 
monogram  of  The  Virgin. 

Michalck,  L.  Editor.     Quelle  der  Andacht. 

Regensburg,  1850. 

dd  r^  ERMAN  binding  of  the  i8th  century; 
Vj  silver,  silver-gilt,  and  silver  filigree, 
over  velvet,  and  silver-gilt.  (19.1  x  11.3 
cm.) 

A  border  of  scrolls,  flowers,  and  leaves 

surrounds  a  panel   in  which  is   fastened  a 

cartouche,  engraved  in  Hebrew,  surmounted 

by  a  filigree  crown;  four  comer  bosses  in 

24 


and  Curious  Bookbindings 

the  form  of  edelweis.  The  panels  of  the 
back,  the  clasps,  and  the  end-pieces  are  cov- 
ered with  filigree. 

Hebrew  Prayer-book. 


BINDINGS   OF   VARIOUS 

MATERIALS 

ORNAMENTED  WITH    SILVER 


67  T  7ELVET  binding  with  chased,  engraved, 
V     and  pierced  silver-gilt  border  in  a  de- 
sign of  foHage,  birds  and  baskets  extending 
around  both  covers  and  back.     Dutch,  i8th 
century.    (16.1  x  8.8  cm.) 

Das  Neue  Testament.  Zurich  [n.  d.]. 


d'^  T~)ED  stamped  velvet  binding,  with  a 
X\.  large  silver  falcon  in  the  middle  of  each 
cover,  and  silver  bosses  at  the  corners.  Eng- 
lish, 19th  century.     (20.2  x  14  cm.) 

The  Book  of  Faulconrie.  London,  1575. 


69  T  7ELVET    binding  with   repouss6    and 

V     pierced  silver  border  extending  around 

the   covers  and  back  in  very  delicate  ara- 

25 


Exhibition  of  Silver,  E?nbroidered 

besques  of  foliage  and  birds ;  the  clasps  and 
end-pieces  are  chased  with  a  similar  design. 
Flemish.    (15.5  x  8.4  cm.) 

70  T  7ELVET  binding,  with  pierced  and  en- 

V  graved  silver-gilt  corner-pieces,  cen- 
ter-pieces, clasps  and  end-pieces,  which  are 
fastened  on  the  boards  with  silver  nails. 
German,  i8th  century.     (15.5  x  9.5  cm.) 

The  center-piece  on  the  front  cover  repre- 
sents   The   Crucifixion;  that   on  the  back 
cover,  The  Resurrection. 
Gesangbuch.  Zweibriicken,  1832. 

71  13  ED  velvet  binding  with  repouss6  and 
IV  pierced  borders  fastened  on  the  covers 
with  nails ;  central  cartouches,  repouss6,  with 
the  arms  of  the  Order  of  St.  Francis,  and 
richly  chased  clasps.  Spanish,  hall-marked 
with  the  date  1778.     (36  x  24.5  cm.) 

Missale  Romanum.  Madrid,  1776. 

72  T  VELVET   binding,  with    engraved  and 

V  pierced  silver  comer-pieces,  and  a  clasp 
the  ends  of  which  extend  into  the  panel  of  the 
covers  and  form  center-pieces ;  in  a  pattern 
of  tulips  and  leaves.  The  clasp  has  A.  M.S., 
1800,  on  the  inside.  German,  i8th  century. 
(18x7.2  cm.) 

Geistliche  Herzens-Musik.  Schweinfurt,  1796. 

26 


and  Curious  Bookbindings 

^ET,  with  chased  and  pierc 
clasps.    German,  17th  century.   (14x8 


73  T  7ELVET,  with  chased  and  pierced  silver 


cm.) 

Leibnitz,  J.  J.     Biblische  Busz-Bilder. 

Nuremberg,  1683. 

74  T  7ELVET  binding,  ornamented  with  re- 

V  pousse  silver,  and  with  silver  chains 
across  the  back.  Greek,  i8th  century. 
(30.9x23  cm.) 

A  border  in  four  pieces,  fastened  to  the 
boards  with  nails,  surrounds  each  cover,  and 
incloses  a  center-piece  and  corner-pieces  simi- 
larly fastened.  The  Resurrection  and  Christ 
in  Glory  are  represented  on  the  front  cover, 
The  Crucifixion  on  the  back  cover.  The 
borders  represent  respectively  scenes  from 
the  life  of  Christ,  and  the  twelve  Apostles ; 
and  the  corner-pieces,  Cherubim,  and  the 
Four  Evangehsts. 

Bartolis,  Antonium.     Evangelion.        Venice,  1754. 

75  1\  yf  OROCCO  binding,  with  engraved  and 
IVl  pierced  corner-pieces  and  a  clasp,  the 
ends  of  which  extend  into  the  boards  and 
form  central  ornaments.  M.  B.  B.^  1700,  is 
engraved  on  the  inside,  and  IT.  M.  S.,  1706, 
on  the  outside  of  the  clasp.  German,  i8th 
century.     (16.3  x  7.2  cm.) 

Betendes  Hertz.  NUrnberg,  1729. 

27 


Exhibition  of  Silver,  Embroidered 

76  TJLACK  morocco  binding  with  silver  clasps 
JJ  bearing  the  initials  of  Admiral  DeRu)'ter, 
and  a  silver  medaUion  in  the  center  of  each 
cover  chased  with  a  ship  flying  a  flag  with 
the  same  initials.  The  clasps  fasten  with  a 
long  pin.  The  silver  has  the  Dutch  hall- 
mark of  1679.     (13.4  X  7.5  cm.) 

Memorandum-book. 


"M 


OROCCO  binding  tooled  in  gold,  with 
pierced  and  chased  silver  clasps  which 
fasten  with  a  long  silver  pin.  Dutch,  i8th 
century.     (9.8x6.  cm.) 


Almanach.  Amsterdam,  1770. 

78  r^  OLD-TOOLED  calf  binding,  with  sil- 
Vj  ver  corner-pieces  and  clasps  engraved 
with  a  crown,  and  engraved  coats-of-arms  in 
the  center  of  each  cover.  The  clasps  fasten 
with  a  silver  pin.  Dutch,  i8th  century. 
(13.6x7.7  cm.) 

Almanach.  Leeuwarden,  1782. 

79  TJLACK  calf  binding,  with  repousse  and 
jL)  pierced  silver  borders  on  the  covers; 
and  chased  clasps.  Dutch,  early  19th  cen- 
tury. 

Bijbel.  Amsterdam,  1849. 

28 


and  Curious  Bookbindings 

80  r^  REEN  levant  morocco  binding,  tooled 
Vj  by  Petit,  with  an  inlaid  panel  of  iron 
damascened  in  the  Spanish  style,  in  repro- 
duction of  the  book-plate  of  Theodore  Burty. 
French,  19th  century.     (26.6  x  17.7  cm.) 

Poulet-Melassis,  A.     Les  Ex-Libris.      Paris,  1875. 

81  11  yfOROCCO  binding,  with  repouss6  and 
IVX  pierced  silver  clasps.  German,  i8th 
century.     (8.6  x  5.5  cm.) 

Les  Peaumes  de  David.  Berlin,  1750. 

82  IV  /fOROCCO  binding,  with  narrow,  re- 
iVX  pouss^  and  pierced  silver  borders  on  the 
covers ;  and  silver  clasps  in  the  form  of  roses 
and  leaves.  German,  i8th  century.  (17.3  x 
9.7  cm.) 

Waldner,       P.  J.  Himmlischer  Baumgarten. 


83  QILVER-GILT  on  silk.    German  binding 
O     of  the  1 8th  century.     (17  x  9  cm.) 

A  pattern  of  interlaced  garlands,  flowers, 
birds  and  baskets  in  repouss6  work  covers 
the  sides,  and  extends  across  the  back,  at  top 
and  bottom,  to  form  hinges.  Clasps  of  a 
similar  pattern. 

Das  Ganze  Neue  Testament.  Ziirich,  1752. 

29 


Exhibition  of  Silver^  Ei7ibroidered 

84  QILVER-GILT    binding,    repouss6,    en- 
O     graved  and  pierced.    German,  1 8  th  cen- 
tury.   (17  x9.3  cm.)   The  silver  forms  a  frame 
around  the  covers  and  back ;  silver  clasps. 
Das  Neue  Testament.  Zurich,  1778. 

85  1\  yfOROCCO  binding  with  repouss6  and 
iVJL  pierced  silver  border  on  the  front  cover, 
representing  flowers  and  fruits,  and  corner- 
pieces  set  with  carbuncles.  A  cross,  set  with 
large  rock  crystals  and  carbuncles,  and  having 
in  the  center  a  head  of  Christ  in  enamel, 
fills  the  panel.  Pierced  bands  bearing  the 
title  of  the  book,  and  a  cross,  extend  across 
the  back ;  clasp  chased  and  pierced.  Amer- 
ican, 19th  century.  By  the  Gorham  Com- 
pany.    (33.2x25.4  cm.) 

The  Holy  Bible.  London. 

^d  iy  TOROCCO  binding  with  pierced  and 
iVX  repousse  silver  work  on  the  front  cover 
representing  scrolls  of  a  vine  with  symbols 
of  the  Evangelists,  and,  in  the  center,  a  head 
of  Christ  in  enamel;  rock  crystals  at  the 
corners,  and  clasp.  Straps  of  pierced  silver 
across  the  back,  with  the  title  of  the  book  on 
one,  and  a  cross  on  the  other.  American, 
19th  century.  By  the  Gorham  Company. 
(33.2x25.4  cm.) 

The  Holy  Bible.  London. 

30 


and  Curious  Bookbindings 

87  T7ISH-SKIN,  with  silver  clasps  chased  and 
1     pierced  with  figures  of  Moses  and  Aaron, 
and  the  Twelve  Apostles.    Flemish  binding  of 
the  i8th  century.     (15.4  x  8  cm.) 
Biblia.  Haarlem,  1796. 

%2>  T7ISH-SKIN  binding,  with  chased  silver 
X  clasps,  ornamented  with  coats-of-arms, 
and  fastened  with  a  silver  pin.  Flemish,  1 7th 
century.    (16  x  9.8  cm.) 

89  QTAMPED  fish-skin  binding,  with  re- 
O  pouss6  and  pierced  silver  panels  on  the 
covers,  which  extend  across  the  back,  at  top 
and  bottom,  for  hinges.  German,  i8th  cen- 
tury.   (17.5x7.5  cm.) 

Beth- Altar.  Brefzlau,  1738. 

90  T^ISH-SKIN  binding,  with  engraved  and 
X  pierced  silver  borders,  and  clasps,  en- 
graved with  heads  of  angels,  and  religious 
emblems.    German,  i8th  century. 

Beth- Altar.  Brefzlau,  1738. 

91  QEALSKIN  binding,  with  repouss6  and 
O  pierced  silver  framework,  ornamented 
with  angels,  garlands,  and  symbols,  around 
central,  silver-gilt  medallions.  The  head  of 
Christ  is  represented  on  one  cover,  and  The 

31 


Exhibition  of  Silver^  Embroidered 

Virgin  on  the  other.  The  back  has  large, 
single  flowers  in  a  series  of  panels ;  the  clasps 
are  engraved.  Dutch,  1 8th  century.  (21  x 
12.3  cm.) 

Ofiicium  Eeatae  Mariae  Virginis.         Antwerp,  1685. 

92  O  EALSKIN  binding  with  silver  borders  on 
O  the  covers  and  back,  clasps,  end-pieces 
and  central  medallions;  repouss6  and  en- 
graved. 

The  medallion  on  the  front  cover  contains 
an  O;  that  on  the  back  cover,  a  B.    Ger- 
man, 19th  century.     (18  x  10  cm.) 
Gesangbuch.  Sulzbach,  1819. 

93  QH ARK-SKIN  binding,  with  a  silver-gilt, 
O  pierced  and  engraved  border  which  ex- 
tends around  the  covers  and  back ;  central 
medallions  engraved  with  ACQ  lypy,  and 
H,  G.  1797,  and  end-pieces  and  clasps. 
German,  i8th  century.     (17  x  8.5  cm.) 

Des  Konigs  und  Propheten  Davids  Pfalmen. 

[n.p.,  n.d.] 

94  TJLIND-TOOLED  shark-skin  binding, 
13  with  pierced,  engraved  and  chased  sil- 
ver borders  fastened  on  the  covers  with  silver 
nails  and  clasps.  German,  i8th  century. 
(15.5x7.5  cm.) 

Kleinknecht,  C.  D.  Liebes-Mahl.     Ulm,  1754. 

32 


and  Curious  Bookbindings 

95  QH ARK-SKIN,  with  repouss6  and  pierced 
O  silver  borders  and  clasps.  German  bind- 
ing of  the  1 8th  century.     (16.8  x  7  cm.) 

Prayer-book. 


96  I3APER  covers  with  silver  back,  and  a 
X     ring  by  which  to  carry  it.     German,  i8th 
century.     (2.1  x  1.6  cm.) 
Geschenck  an  Phyllis.  Bucha  im  Thai,  1764. 


BINDINGS 
OF   OTHER   METALS 

97  r^  OLD  book,  inscribed  with  the  imperial 
vT  decree  of  Gya-long,  Emperor  of  An- 
nam,  conferring  a  patent  of  exalted  rank 
upon  his  deceased  Grandmother;  issued  on 
the  8th  day  of  the  6th  moon  of  the  5th  year; 
A.D.  1806;  on  four  pages,  the  leaves  mea- 
suring 5^  X  10  inches. 

The  decree  takes  the  form  of  a  prayer 
offered  up  to  the  deceased  personage,  the 
Emperor  subscribing  himself  as  "  Her  hum- 
ble subject."     It  begins : 

3  33 


Exhibition  of  Silver^  Embroidered 

*'  In  the  fifth  year  of  the  reign  of  Chia- 
lung  (Gya-long),  being  the  year  ping-yin  of 
the  sexagenary  cycle,  in  the  sixth  month, 
ting  ch'ou  of  the  cycle,  on  the  eighth  day 
after  the  new  moon,  the  filially  reverent 
Grandson  Emperor  in  direct  line.  Yuan  Fti- 
yingf  bows  down  to  the  ground,  and  again 
kotows,  before  respectfully  offering  up  the 
decree  which  follows":  —  He  begins  as  "a 
pious  grandson  "  by  extolling  the  deceased, 
who  was  elevated  to  be  a  minor  consort 
by  his  grandfather  in  his  reign  of  "  ChHen- 
yuan"  and  given  by  him  a  long  title,  which 
is  literally,  "the  Tender,  Fairy-like,  Kind, 
Sage,  Chaste,  Docile,  Graceful,  Quiet  Con- 
sort" (in  Chinese,  Tz'u^IIsien,  Hui^  ShSng, 
Chin^  Shun^  Sung^  Ching,  Fei). 

After  a  long  panegyric,  he  concludes  by 
"  respectfully  conferring  in  the  presence  of 
all  his  court,  assembled  for  the  occasion, 
this  gold  patent  of  exalted  rank." 

In  the  new  title  the  rank  of  Fei  (minor 
consort)  is  replaced  by  the  highest,  that  of 
Huang  Hou  ("Empress"),  prefixed  by  all 
the  above  adjectives,  except  Sung  ("  Grace- 
ful "),  which  is  replaced  by  three  additional 
epithets,  J^n  ("Benevolent"),  Hsiao  ("Pi- 
ous "),  and  Chih  ("Wise"). 

He  finally  entreats  his  deceased  grand- 
mother to  animate  with  her  spirit  the  por- 

34 


and  Curious  Bookbindings 

trait  which  has  just  been  painted  for  her 
ancestral  temple. 

Note. —  Gya-long  was  the  title  of  the  emperor 
who  finally  re-established  his  dynasty  in  Annam 
after  an  interregnum  of  thirty-seven  years.  '  His 
grandfather  had  reigned  in  Cochin  China  until 
1765,  when  he  was  killed  by  the  Tay-song  rebels, 
and  his  line  nearly  exterminated.  Only  one  scion 
seemed  to  have  escaped  under  Jesuit  protection, 
who  was  taken  by  the  priests  to  France,  and  edu- 
cated there.  After  his  return  to  his  own  coun- 
try he  conquered  and  drove  out  the  Tay-song 
Chieftains,  and  was  finally  proclaimed  the  first 
emperor  of  Annam,  under  the  title  Gya-long,  his 
rule  extending  over  Tonquin  and  part  of  Cambo- 
dia, as  well  as  Annam  proper.  He  died  in  18 19, 
and  was  succeeded  by  his  son,  who  reigned  under 
the  title  of  Minh-menh, 

On  the  border  of  the  cover  under  the 
lowest  hinge  is  a  vertical  line  of  characters 
lightly  outlined  in  dots. 

"85  gold,  25  Liang,  5  Ch'ieu,  6  Feu." 

The  Chinese  Hang  equals  one  and  one 
third  ounces,  the  chHen  is  one  tenth  of  a 
liang^  \hefeu  one  tenth  of  a  chHen;  85  prob- 
ably means  eighty  five  one  hundredths,  as 
the  proportion  of  pure  gold  in  the  alloy. 

N.  B.  The  text,  engraved  in  regular  col- 
umns, inclosed  within  lines,  as  in  an  ordi- 
nary Chinese  printed  book,  is  to  be  read 
consecutively,  although  the  columns  are  of 

35 


Exhibition  of  Silver^  Embroidered 

unequal  length.  The  interruptions,  and  the 
elevation  of  the  characters  at  the  head  of  the 
columns  are  for  the  purpose  of  giving  special 
honour  to  the  various  imperial  titles,  &c.,  the 
degree  of  honour  being,  in  Chinese  usage, 
dependent  on  its  elevation  in  the  text.  The 
highest  place  is  consequently  given  here  to 
the  honouring  titles  of  the  deceased  Empress. 

Cover  modelled  in  repouss6  work,  finished 
with  the  graving  tools,  in  the  style  of  the 
brocaded  silk  binding  of  a  Chinese  book. 

The  large  oblong  panel  in  the  middle 
contains  the  figure  of  an  imperial  dragon 
rising  into  the  clouds  from  the  sea.  Repre- 
sented full-face,  with  gaping  jaws  armed 
with  formidable  teeth,  two  horns,  and  flowing 
mane  and  beard,  it  grasps  in  its  claws  the 
flaming  jewel  of  omnipotence.  The  scaly 
sides  of  the  monster  are  half  hidden  in  the 
clouds  with  which  it  is  enveloped.  The  waves 
of  the  sea  underneath  are  crowned  with 
foam  as  they  beat  against  the  rocky  moun- 
tains, the  *'  everlasting  hills  of  the  Orient," 
and  have  books  floating  on  their  surface. 

The  panel  is  framed  in  an  ornamental 
border  of  regular  floral  design,  interrupted 
by  large  conventional  flowers  at  the  four 
corners.  _  Dr.  S.  W.  Bushell, 

New  York,  November,  1893. 

36 


and  Curious  Bookbindings 

The  Annanese  Gold  Book  that  you  have 
sent  me  to  examine  weighs  31.755  ounces 
Troy=9o8  Grammes,  and  is  of  a  fineness  of 
95.836=23  carat.  The  alloy  is  of  silver  and 
some  other  substance  whose  properties  tend 
to  change  the  gold  to  a  ruddy  color  on  ex- 
posure. The  color  of  the  covers,  which 
seems  peculiar  to  the  gold  objects  of  An- 
nam,  Siam,  and  Burma,  is  evidently  due  to 
the  beautiful  tarnish  caused  by  the  action  of 
time,  or  by  some  component  part  of  the  gold. 
The  gold  is  just  as  it  was  taken  from  the  allu- 
vial river  washings;  the  sheets  were  evidently 
hammered  out,  and  not  rolled  as  they  would 
have  been  by  European  workmen.  The  or- 
namentation was  made  by  flat  chasing,  the 
lettering  by  means  of  a  tracing  tool ;  a  header 
and  hard  chasing  hammer  were  also  used. 
The  reason  that  the  tool  marks  do  not  show 
through  is  because  each  leaf  is  made  up  of 
two  pieces  cleverly  joined  together  at  the 
edges  so  that  the  marks  should  not  be  visi- 
ble. That  the  color  is  partly  tarnish  is  evinced 
by  the  fact  that  only  the  cover  and  that  part 
of  the  inner  leaves  near  the  holes  through 
which  the  rings  pass,  show  it.  This  ruddy 
color  is  so  highly  prized  by  the  European 
collectors  that  it  is  often  simulated.  To  pro- 
duce it  modem  gold  workers  place  the  ob- 

3*  37 


Exhibition  of  Silver,  Embroidered 

ject  in  the  electric  bath,  applying  a  strong 
current,  and  reversing  it. 

George  F.  Kunz. 

98  TRON  binding,  engraved.  The  manner  of 
X  hinging  the  covers  to  the  back  is  remark- 
able.    (20.1  X  13.7  cm.) 

99  IV  1 OROCCO  binding,  with  inlaid  silver- 
IVJ.  gilt  and  silver  covers,  enamelled. 
German,  13th  century.     (10.5  •yi(>.(i  cm.) 

The  silver  forms  long  panels  which  are 
framed  in  the  gilt;  sprays  of  flowers,  some 
filled  with  enamel,  are  engraved  across  them. 
The  morocco  back  gold-tooled. 

Almanach.  Shemnitz,  1795. 


BINDINGS 

ORNAMENTED    WITH    METALS 

OTHER   THAN    SILVER 

100  Q TAMPED  vellum,  with  chased  and 
O  pierced  comer-pieces,  center-piece  and 
clasps  of  brass.  German  binding  of  the  13th 
century.     (39  x  28  cm.) 

Aquinas,  Thomas.     Secunda  Secundae.       Eichstadt 
[c.   1480]. 

38 


'°'R 


and  Curious  Bookbindings 

ED  velvet  binding,  with  brass  comer- 
pieces  and  center-piece,  chiselled  and 
pierced.  Italian,  i8th  century.  (28.6  x 
21  cm.) 

Missale  Romanum. 

Illuminated  manuscript  of  the  XV  century j  on  vel- 
lum. 

102  T~)USSIAN  binding  of  silk,  with  brass 
1\.  borders,  clasps  and  corner-pieces, 
representing  cherubs'  heads  and  fleurs-de- 
lis,  and  twenty-eight  small  pieces  cut  out 
and  chased  in  the  shapes  of  hons,  stag- 
hounds,  birds,  hares,  cupids  with  bows, 
double-headed  eagles  (four  of  which  have 
rubies  in  their  centers),  and  a  cartouche 
with  the  name  of  the  owner  in  Hebrew ;  all 
fastened  on  with  nails.  The  back  has  inter- 
laced steel  chains  across  it ;  and  there  are 
chains,  by  which  to  carry  the  book,  fastened 
to  the  top.  (18.3  X  1 1.2  cm.) 
Prayer-book  in  Hebrew. 

103  TJ^OWN  morocco,  by  Pagnant,  bearing 
JJ  on  the  front  cover  one  of  three  proofs 
of  a  large  bronze  relief  by  Raffaelli,  called 
Bonhomme  fumant  sa  pipe.  French  binding 
of  the  19th  century.     (31.5  X2.5  cm.) 

Raffaelli,  Jean-Fran9ois.     Les  Types  de  Paris. 

Paris  [1890]. 

Presentation  copy  with  autograph  letters  and  original 
drawings. 

39 


Exhibition  of  Silver,  Embroidered 

104  /^^ALF,  with  bronze  ornaments  represent- 
V^  ing  objects  of  the  saddler's  craft,  and  a 
central  medallion  on  either  cover — one  of 
Gerechtigkeit,  the  other  of  Liebe.  German 
binding  of  the  19th  century.    (19  x  13.5  cm.) 

Manuscript  record-book  of  Master-saddlers.      1 758- 
1820. 


105  "pED  velvet  binding  with  comer-pieces 
IX.  and  clasps  of  pure  gold,  in  the  form  of 
roses  and  a  butterfly,  the  device  of  the 
Archinto  family  of  Milan.  Italian,  19th  cen- 
tury.    (23.7  X  19.5  cm.) 

Porto,  Luigi  da.     Storia  di  Due  Nobili  Amanti. 

Milan,  1 8 19. 

106  T  T'ELVET,   with  engraved   and  pierced 

V     steel  borders   and   center-pieces,  and 
thickly  studded  with  steel  nails ;  steel  clasps. 
German    binding    of    the    i8th     century. 
(9.2  X  6  cm.) 
Das  Neue  Testament.  Zurich,  1738. 


107  T7ISH-SKIN,  with  engraved  and  pierced 
X  center-pieces,  corner-pieces  and  clasps 
of  steel,  and  studded  with  steel  nails.  Ger- 
man binding  of  the  i8th  century.  (15.9  x 
8.7  cm.) 

Das  Neue  Testament.  Ziirich,  1738. 

40 


and  Curious  Bookbindings 

1 08  QHARK-SKIN  binding,  with  steel  borders 
O  and  center-pieces  which  are  fastened  on 
the  boards  with  nails;  clasps.  German, 
i8th  century.     (17.2x9.2  cm.) 

Das  Neue  Testament.  Zurich,  1 742  (?) 

109  IV  yfOROCCO  binding,  gold-tooled,  and 
IVX  painted  in  a  Grolieresque  design ;  four 
bronze  medals  of  famous  printers  set  in  the 
front  cover;  bronze  bosses  at  the  corners. 
German,  19th  century.    (48  x31cm.) 

Lempertz,  Heinrich.   Bilder-Hefte.    Coin,  1853-65. 


no  1\  yfOROCCO  binding  by  Meunier.  The 
iVJL  doublure  of  brown  morocco  has  fifteen 
silver  and  bronze  medals  of  Gutenberg  sunk 
into  it.  French,  19th  century.  (30  x  19.5 
cm.) 
Jean  Gutenberg.  Geneva,  1858. 


ENAMEL  BINDINGS 

m  r^  ERMAN  binding  of  the  i8th  century. 
\j  (12.8  X7  cm.)  Surface  enamel,  with  en- 
graved and  pierced  silver  borders  and  clasps. 
On  the  front  cover  is  The  Annunciation, 

41 


Exhibition  of  Silver,  Embroidered 

within  a  cartouche,  surrounded  by  flowers ; 
on  the  back  cover,  similarly  framed.  The 
Nativity.  The  back  is  divided  into  two 
panels ;  one  has  a  figure  of  Faith,  the  other 
of  Hope. 


112  T7LEMISH  binding  of  the  17th  century. 
X  (10.9  X  5.7  cm.)  Surface  enamels  in  blue, 
black  and  gold,  bordered  with  silver  filigree. 

The  front  cover  has  a  representation  of 
The  Annu?iciation,  within  a  cartouche,  sur- 
rounded by  flowers,  and  the  back  cover.  The 
Virgin  and  Child ;  in  two  panels  on  the  back 
are  other  biblical  scenes ;  filigree  clasps. 

Paradysz  Gartlein.  Luneburg,  1667. 

113  T7RENCH  binding  of  the  early  19th  cen- 
11  tury.  (9.9  X  6.4  cm.)  Blue  enamel, 
with  panels  of  white,  painted  with  flowers 
and  inlaid  with  turquoises. 

Memorandum-book. 


114  /^^ RUSHED  levant  binding,  with  a  cross 
\y  and  lilies,  enamelled  in  colors  on  silver, 
and  pierced.  American,  19th  century.  By 
the  Gorham  Company. 

Book  of  Common  Prayer. 
42 


and  Curious  Bookbindings 


BINDINGS  ORNAMENTED 
WITH    ENAMELS 

115  T^RENCH  binding  of  the  19th  century. 
Jr    (20  X  13.5  cm.) 

Crushed  levant,  with  mosaic  doublure,  by 
Meunier.  A  large  panel  of  glass  enamelled 
in  colors  in  Persian  designs  by  Brocard  is 
sunk  into  both  covers,  and  rock-crystal  bosses 
are  set  at  the  corners. 

Sauzay,    A.     Marvels  of  Glass-making. 

London,  1870, 


116  T7RENCH  binding  of  the  19th  century. 
is  (24.2  X  15  cm.)  Crushed  levant,  by 
Joly,  with  enamels  by  the  celebrated  master 
of  the  art,  Ferdinand  Thesmar. 

At  the  top  of  the  front  cover  is  the  title  of 
the  book  executed  on  a  scroll  of  silver-gilt; 
below  it,  sunk  into  the  board,  is  a  panel  of 
Limoges  enamel  representing  an  allegorical 
figure  Enamel,  \n  a  frame  of  cloisonne  enamels 
in  the  Oriental  manner. 

Popelin,  Claudius.     L'fimail  des  Peintres. 

Paris,  1866. 

43 


Exhibition  of  Silver,  Embroidered 

117  T7RENCH,  19th  century.  (23.2  x  14.5 
X^  cm.)  Crushed  levant,  by  Petit,  with  a 
Limoges  enamel  panel  by  Claudius  PopeHn, 
in  the  front  cover. 

The  enamel  represents  the  figure  of  a 
winged  and  armed  boy  treading  upon  a 
snake,  and  holding  in  his  hands  a  scroll  bear- 
ing the  title  of  the  book.  On  the  back- 
ground is  the  inscription:  a  man  ami  Th. 
Burty,  Claudius  Popelin. 

Popelin,  Claudius.     L'fimail  des  Peintres. 

Paris,  1866. 

118  T7RENCH  binding  of  the  19th  century. 
X  (23.6x15.2  cm.)  Crushed  levant,  by 
Petit,  with  a  Limoges  enamel  panel  by  Clau- 
dius Popelin  sunk  into  the  front  cover. 

The  painting  is  copied  after  one  of  a 
series  of  ornamented  initials  in  the  book, 
drawn  by  Popelin,  and  inscribed  a  R  Burty, 
CI.  Popelin. 

Popelin,  Claudius.     De  la  Statue  et  de  la  Peinture. 

Paris,  1869. 

119  T7RENCH  binding  of  the  19th  century. 
jL  (28.9  x20  cm.)  Crushed  levant,  by  Petit; 
with  a  Limoges  enamel  panel  by  Claudius 
Popelin,  set  into  the  front  cover.  The  enamel 
represents  a  young  trumpeter  with  a  scroll 

44 


and  Curious  Bookbindings 

above  bearing  the  inscription :  A  gens  de 
village  trompette  de  bois. 

Popelin,    Claudius.     Cinq  Octaves  de  Sonnets, 

Paris,  1875. 


TORTOISE-SHELL  BINDINGS 

120  r\UTCH   binding  of  the   i8th  century. 
\J  (13.8x7.4  cm.) 

Tortoise-shell,  with  silver  hinges,  clasps, 
and  chain. 

Die  Psalmen  Davids.  Amsterdam,  1698. 


121  'pvUTCH    binding  of  the    i8th   century. 
U  (7.5x4.7  cm.) 

Tortoise-shell,    with     silver    hinges    and 
clasps. 

Nieuw  Groot  Hoorus  Liedt-boeckje. 

Tot  Hoorn,  1690. 

122  T\UTCH  binding    of  the    i8th   century. 
\J  (27.2  X  10.8  cm.) 

Tortoise-shell,   with   chased   silver    rims, 
comer-pieces,  clasps,  and  chain-pieces. 

Biblia.  Dordrecht,  1758. 

45 


Exhibition  of  Silver^  Embroidered 

123  TAUTCH  binding  of  the  i8th  century. 
jlJ  (i6xii  cm.) 

Tortoise-shell,  with  silver  rims  around  the 
covers  and  back  and  clasps. 

Orden  de  las  Oraciones  Cotidianas. 

Amsterdam,  169 1. 

124  TPVUTCH  binding  of  the  i8th  century. 
VJ  (14.3x7.7  cm.) 

Tortoise-shell;  the  covers  and  back  are 
joined  by  silver  hinges  which,  like  the  clasps, 
are  chased  with  birds  and  foliage. 

Biblia.  Dordrecht,  1712. 

125  T^UTCH  binding  of  the  i8th  century; 
\J  tortoise-shell,  with  silver  corners,  hinges, 
and  clasps,  chased  with  garlands.  (14.7  X7.7 
cm.) 

Het  Nieuwe  Testament.  Dordrecht  [1737]. 


126  XAUTCH,  18th  century;  tortoise-shell 
\J  binding  with  silver  hinges,  corner-pieces, 
and  clasps,  chased  with  flowers  and  scrolls. 
(14. 1  x8  cm.) 

Het  Nieuwe  Testament.  Dordrecht,  1705. 

127  T^UTCH  binding,  i8th  century;  tortoise- 
\J  shell  carved  in  a  design  like  those  on 
French  leather  bindings  of  the  period,  and 

46 


and  Curious  Bookbindings 

fastened   on   the   boards  with   silver  nails; 
silver  filigree  clasps.     (14.1  x  8.1  cm.) 

Het  Nieuwe  Testament.  Amsterdam,  1700. 

128  T^UTCH  binding,  19th  century;  tortoise- 
\J  shell  with  silver  hinges,  clasps,  end- 
pieces,  and  ring-pieces  at  the  top  of  the 
covers  for  chains ;  chased  and  pierced  with 
flowers  and  leaves.     (17.1  x  11  cm.) 

Biblia.  Dordrecht  [1720]. 

129  T7RENCH,  i8th  century;  tortoise-shell 
X  inlaid,  on  the  front  cover,  with  a  silver- 
gilt  border,  and  a  central  shield  engraved 
withJl/".     (10.2x6.5  cm.) 

Memorandum-book. 

130  T7RENCH  binding  of  the  i8th  century ; 
X  tortoise-shell  covers  with  chased  silver- 
gilt  borders,  and  back;  fastened  with  a  pen- 
cil and  having  a  chain  to  carry  it  by. 
(4.3  X  2.9  cm.) 

131  r^  ERMAN  binding  of  the  19th  century; 
Vj  tortoise-shell,  with  silver-gilt  borders 
around  the  covers  and  back;  end-pieces  and 
clasps  etched  and  pierced.     (14  x  7.2  cm.) 

Nina.  Stuttgart,  1843. 

47 


Exhibition  of  Silver^  Embroidered 

132  r^  ERMAN,  18th  century;  the  covers  are 
VT  bordered  with  a  deHcate  pattern  in  sil- 
ver, and  are  fastened  with  a  silver  pencil. 
Ivory  Memorandum-tablets, 

^ZZ  n^ORTOISE-SHELL  cover,  inlaid  with 

X.    etched  and  filigree  silver  ornaments  at 

the  corners  and  in  the  center.     (7.5  x  5  cm.) 


MOTHER-OF-PEARL  BINDINGS 

134  T7RENCH  binding,  19th  century,  satin, 
X  with  mother-of-pearl  and  surface-enamel. 
(11.3x7.5  cm.) 

The  front  cover  of  mother-of-pearl  is  bor- 
dered with  an  engraved  and  pierced  silver 
frame  set  at  the  comers  with  moonstones.  A 
central  silver  cartouche  holds  a  blue  enamel 
shield  set  with  a  series  of  nine  smaller  stones. 
Almanach.  Paris  [n.  d,]. 

135  TAUTCH  binding,  i8th  century;  mother- 
ly of-pearl  covers,  engraved  with  the 
monogram  H,  S.  B.;  silver  clasp  and  back. 
(4.4x3.1  cm.) 

Kern  des  Bybels.  In  s'Hage,  1750. 

48 


and  Curious  Bookbindings 

136  'PVUTCH  binding,  i8th  century;  mother- 
\J  of-pearl  covers,  with  silver  back  and 
clasp.     (6.5  X  3.8  cm.) 

De  Kleine  Tijdwijzer  of  Almanach. 

Amsterdam  [1791]. 


137  TPVUTCH  binding,  i8th  century;  mother- 
\J  of-pearl,  with  silver  back  and  clasp. 
(6.5x2.9  cm.) 
Almanach.  Amsterdam,  1779. 


138  T7RENCH  binding,  i8th  century ;  mother- 
X  of-pearl  sides,  the  front  one  inlaid  with 
engraved  silver. 

Hommage  ^  L'Amiti^.  Paris  [1808]. 


139  T7RENCH  binding,  i8th century;  mother- 
JL  of-pearl,  with  the  word  Messe^  and  a 
crown  of  thorns,  engraved  on  the  front  cover. 
(4.2  X2.7  cm.) 

Petit  Paroissier  de  la  Jeunesse.  Paris  [n.  d.]. 

140  T^RENCH,  i8th  century;  mother-of-pearl, 
X^  inlaid  with  silver-gilt,  and  painted. 
(5.1x2.5  cm.) 

[Calendar.]  [Paris  1792.] 

4  49 


Exhibition  of  Silver^  Embroidered 

141  T7RENCH,  19th  century;  mother-of-pearl; 
X^  the  front  cover  engraved  with  flowers, 
leaves  and  the  word  Bal.     (4.8  x  3.3  cm.) 

Memorandum-book.  [Paris,  i8i(?).] 

142  T7RENCH,  i8th  century;  mother-of-pearl 
X^  panels  set  in  silver,  with  silver  back. 
(6.7  X  4.4  cm.) 

143  T7RENCH,  iSth  century;  mother-of-pearl, 
X^  with  silver-gilt  clasp.  The  front  cover 
bears  the  word  Fables.    (3  x  1.2  cm.) 

Petit  Fabuliste.  Paris  [n.  d.]. 

144  T^RENCH,  19th  century;  mother-of-pearl 
jL  binding ;  the  front  cover  is  carved,  and 
has  two  silver  shields  in  the  middle ;  pencil. 
(9.5  X  6  cm.) 

Souvenir.  Paris  [n.  d.]. 

145  T7RENCH  work  of  the  early  19th  century; 
X  engraved  mother-of-pearl,  framed  with 
silver-gilt,  with  comer-pieces  in  the  form  of 
harps  and  palm-branches;  a  small  pansy  in 
enamel  on  the  front  cover ;  a  silver-gilt  pen- 
cil held  in  a  wire  coil  for  a  clasp.  (8.5  x  5.7  cm.) 
Petit  souvenir.  Paris  [1823]. 

50 


and  Curious  Bookbindings 


146  ]\  yf  OTHER-OF-PEARL,  framed  in  sil- 
ver-gilt chased  in  a  delicate  pattern. 


M 

The  covers  fasten  with  a  pin  through  a  wire 

coil.     (4.1  X  2.8  cm.) 

Les  Petits  Montagnards,  1822.  [Paris.} 


IVORY    AND    HORN   BINDINGS 

147  T7RENCH  binding,  19th  century;  ivory 
X     covers  on  silk.     (4.7  x  3  cm.) 

Petit  Paroissien  de  la  Jeunesse.  Paris  [n.  d.]. 

148  T7RENCH  binding,  19th  century;  ivory, 
JL  with  pierced  and  engraved  silver-gilt 
borders,  and  an  enamel  medallion  in  the  front 
cover;  gilt  pencils.     (9.2  x6  cm.) 

149  TTALIAN  (?)  binding,  i8th  century;  the 
-L  sides  and  back  of  ivory,  are  framed  in 
silver-gilt.     (13.9x8cm.) 

150  T^USSIAN  binding,  i8th  century;  light 
X\.  colored  horn,  with  silver-gilt  hinges, 
back-pieces  and  clasps,  chased  and  engraved, 
and  monograms  on  both  covers.  (13  x 
Z.d  cm.) 

Prayer  Book. 

51 


Exhibition  of  Silver^  Embroidered 


WOOD    BINDINGS 

151  /^^  ERMAN  binding,  19th  century,  made 
Vj  of  wood  taken  from  the  foundations  of 
the  old  Roman  Bridge  at  Mainz,  the  birth- 
place of  printing  with  movable  types.  (19.5 
X  10.3  cm.) 

Klemm,   H.     Catalog  des  Bibliographischen  Mu- 
seums. Dresden,  1884. 

152  TNDIAN  book-cover  of  the  19th  century; 
X  carved  sandal-wood  panels  surrounded 
by  borders  made  of  a  mosaic  of  mother-of- 
pearl  and  silver.     (24.5  x  17.5  cm.) 

153  A  MERICAN  binding,  19th  century;  gold- 
l\,  en  ebony,  hinged  with  silver,  and  with 
a  silver  clasp.     By  Tiffany  and  Company. 

154  "QINDING  of  cedar- wood  from  Mount 
13  Lebanon,  elaborately  carved  and  pierced ; 
over  silver-gilt;  silver-gilt  clasps.  (15.9  x  10.2 
cm.) 

A  monstrance  surrounded  with  a  passion- 
flower vine  is  carved  on  the  front  cover,  and  an 

52 


and  Curious  Bookbindings 

Agnus  Dei  with  other  emblems,  surrounded 
by  a  vine  and  passion-flowers  on  the  back 
cover.  The  panel  of  the  back  contains 
monograms. 

Le  Nouveau  Testament.  A  Mons,  1672. 

155  T7NGLISH  binding  of  the  19th  century. 
lid  Black  composition,  in  relief,  and  pierced, 
over  red.     (20  x  15. i  cm.) 

A  bust  of  Shakespeare  in  red  within  a  car- 
touche, surrounded  by  strap-work  bearing  the 
name  of  the  book,  ornaments  the  front  cover; 
the  monogram  W  S  \?>  similarly  treated  on 
the  back  cover. 

Humphrey,  H.  N.     Sentiments  of  Shakespeare. 

London,  1857. 

156  T7NGLISH  binding  of  the  19th  century. 
JL^  Black  composition  in  relief  and  pierced, 
over  red.    (19.6  x  13.5  cm.) 

A  shield  with  the  arms  of  the  Black  Prince, 
a  scroll  bearing  the  title  of  the  book  and  the 
motto  of  the  Prince  of  Wales,  over  Gothic 
tracery,  ornament  both  covers. 

A  Record  of  the  Black  Prince.  London,  1849. 

157  T7NGLISH  binding  of  the  19th  century. 
\Zd  Black  composition  in  relief;  pierced, 
over  red.    (22.8  x  15.5  cm.) 

4*  53 


Exhibition  of  Silver,  Embroidered 

The  sides  are  covered  with  an  elaborate 
design  and  a  central  cartouche  containing  an 
emblematic  figure  after  one  of  the  engrav- 
ings in  the  book  by  W.  Harry  Rogers,  with 
scrolls  bearing  the  title  of  the  book. 

{Bound  by  Leighton,  Son  &=  Hodge.) 

Quarles,  Francis.     Emblems.  London,  i86i. 


LACQUER  BINDINGS 

158  "PERSIAN  binding  of  the  i8th  century; 
X  surface  lacquer  in  a  design  of  flowers  and 
leaves.     (20.5  x  13  cm.) 

Persian  manuscript. 

159  T)ERSIAN  binding  in  gold  and  colors 
XT  painted  on  a  green  ground.  (15.6  x  10 
cm.) 

Koran.     Arabic  manuscript. 

160  T)ERSIAN  bindmg;  flowers  and  leaves 
i  painted  on  a  gold  ground,  (ii.i  x  7  cm.) 

Koran.     Arabic  manuscript. 

161  T)ERSIAN  binding.  The  covers  are 
JT  painted  with  flowers  and  birds,  and  the 
doublure  with  figures.     (21.5  x  13.7  cm.) 

Koran.     Arabic  manuscript. 

54 


and  Curious  Bookbindings 

162  r^  ERMAN  binding  of  the  i8th  century; 
vT  lacquer,  inlaid  with  mother-of-pearl  and 
silver  in  a  Chinese  pattern.      (8  x  4.7  cm.) 

Schreib- Calendar.  Augsburg,  1766. 


VELVET,    SILK   AND    PAPER 
BINDINGS. 

163  /^^UT  velvet  binding,  in  a  pattern  of  leaves 
V-y  around  an  angel  holding  a  shield  with 
the  title  of  the  book.  French,  19th  century. 
(16.8  X  10.3  cm.) 

The  product  of  the  "  Romantic"  period  of 
French  art,  and  cotemporary  with  the  so- 
called  "  Cathedral "  buildings. 

Chroniques  fran9aises  de  Gondar.        Paris  [n.d.]. 

164  TTELIOTROPE  velvet,  stamped  in  gold, 
JL  J.  with  a  border  of  scrolls,  and  a  central 
coat-of-arms.  French  binding  of  the  i8th 
century.     (lo.i  x  6  cm.) 

Les  deux  Magots.  Paris  [n.  d.]. 

165  ^T  7ATERED  silk  binding;  French,  19th 

VV    century.     (12.1  x  7.1  cm.) 
The   covers   are   bordered    with   griffins, 

55 


Exhibition  of  Silver,  Embroidered 

sphinxes,  and  tripods,  stamped  in  gold ;  in 

the  center  of  each  is  a  landscape  painted  in 

colors. 

Almanach.  Paris,  1812. 

166  TT7HITE     silk    binding,    painted    with 

VV  cupids,  wreaths,  and  vases  of  flowers, 
in  the  style  of  the  i8th  century.  In  a  case 
and  slip-case  of  the  same  decoration.  French, 
of  the  early  19th  century.     (12  x  7.8  cm.) 

Dufrenoy,  Mme.     Hommage  aux  Demoiselles. 

Paris  [1819]. 

167  r^  REEN  silk  binding,  with  a  stamped  gold 
Vj  border  and  back ;  in  a  case.  French, 
19th  century.     (11.5  x  7  cm.) 

Les  M^rite  des  Femmes.  Paris  [n.  d.]. 


i68T7ELLUM,  painted;    Italian  binding  of 
V     the  19th  century.     (28  x  17.8  cm.) 
A  portrait   of  Ariosto,  surrounded  by  a 
Greek  border,  is  painted  on  the  front  cover, 
and  Orlando  Furioso,  on  the  back  cover. 


169  T  7ELLUM,     ornamented    with    flowers 
V     painted  on  the   under  side.     English 
binding  of  the  19th  century.     (19.9  x  12.5 
cm.)     An  experiment  by  J.  Zaehnsdorf. 

Austin,  Alfred.     In  Veronica's  Garden. 

London,  1897. 

56 


and  Curious  Bookbiiidings 

lyoTTELLUM  binding,  gold  tooled,  with  a 
V  colored  engraving  of  Mildigkeit  pasted 
on  the  front  cover,  and  another  of  Einigkeit 
on  the  back  cover  \  chased  and  pierced  silver 
clasps.  German  binding  of  the  i8th  cen- 
tury.    (17.1  X  10  cm.) 

Gesangbuch.  Altona,  1782. 


■'■R 


ED  paper,  stamped  with  gold  borders 
and  hinges.      English    binding,   19th 
century. 

Humphreys,  H.  N.     Coins  of  England. 

London  [n.  d.]. 


172  "pAPER  binding,  engraved,  with  colored 
1  pictures  laid  on.  In  a  case  of  the  same 
design.  French  binding  of  the  19th  cen- 
tury. 

Livre  d'Amour.  Paris  [1815]. 


BINDINGS    OF    CURIOUS 
MATERIALS 

173  /"^OLORED  beads  strung  on  wires,  and 
\y  woven  in  a  basket  pattern.  French 
binding  of  the  17th  century.  (10.3  x  6.5 
cm.) 

Les  Pseaumes  de  David.  Geneva,  1671 

57 


Exhibition  of  Silver^  Embroidered 

174  JAVANESE  shark-skin  bordered  with  the 
J  skin  of  a  Florida  gar-pike ;  a  silver 
monogram  and  the  seal  of  the  GroHer  Club 
are  fastened  on  the  front  cover;  jade  book- 
mark in  the  form  of  a  fish.  American  bind- 
ing of  the  19th  century.      (18.3  x  11.7  cm.) 

The  Grolier   Club.     Hand-list  of  editions   of   the 
Complete  Angler.  New  York,  1893. 

175  JAVANESE  shark-skin  in  its  natural  color 

I  panelled  with  the  same  stained  green, 
and  ornamented  with  a  gold  framework  in 
arabesques  of  flowers.  The  back  is  of  liz- 
ard skin.  American  binding  of  the  19th 
century.     By  Tiffany  and  Company. 

Portfolio. 

176  JAVANESE  shark-skin  in  its  natural  color, 
J  panelled  with  the  same  stained  green 
and  with  Florida  gar-pike  skin ;  with  a  deli- 
cate gold  framework.  American,  19th  cen- 
tury.    By  Tiffany  and  Company. 

Portfolio. 

177  TT7HITE  human-skin,  inlaid  with  black 

VV  morocco,  and  tooled  with  arrows, 
death's  heads,  and  knuckle-bones.  Ameri- 
can binding  of  the  19th  century.  (13  x  8 
cm.) 

Holbein,  Hans.     Dance  of  Death.     London,  1898. 

S8 


and  Curious  Bookbindings 

178  TJLACK  human-skin  binding  of  the  19th 
JLl  century.     (19.2  x  11.3  cm.) 

Holbein,  Hans.     Dance  of  Death,  engraved  by  W. 
Hollar. 


179  TJUMAN-SKIN  binding  by  Zaehnsdort. 
Xx  EngHsh,  19th  century.    (22.5x14  cm.) 

Hollar,  W.,  Engraver.     The  Dance  of  Death. 

London,  18 16. 


BINDINGS  ORNAMENTED  WITH 
CURIOUS  MATERIALS 

180  /^^REEN  crushed  levant  binding,  with  a 
VT  large  gold-embroidered  bee  set  in 
the  front  cover,  by  Petit.  French,  19th  cen- 
tury.   (14.5x9.3  cm.) 

The  bee  was  cut  from  the  throne  of  Na- 
poleon III,  in  September,  1870. 

Hugo,  Victor.     Chatiments.  Paris,  1855. 

181  npHE  covers  are  of  wood;  sunk  into  the 

X  front  one  is  an  early  bronze  placque  rep- 
resenting The  Virgin  and  Child  before  a 
throne,  with  angels  and  loves  holding  gar- 

59 


Exhibition  of  Silver,  Embroidered 

lands.    Italian  binding;  probably  of  the  19th 
century.     (15.2  x  10  cm.) 

Rofario  della  Gliofa  Virgine  Maria.      Venice,  1656. 

182  /'^RUSHED  levant,  with  a  mosaic  doub- 
\^  lure  by  Meunier,  and  panels  of  faience 
painted  by  Theodore  Deck.  French  bind- 
ing of  the  19th  century.    (22.1  x  14  cm.) 

A  faience  panel  on  the  front  cover,  Persian 
in  design,  contains  the  title  of  the  book; 
one  on  the  back  cover,  in  Renaissance  orna- 
ment, has  the  monogram  6*.  P.  A.  There 
are  three  panels  on  the  back,  a  central  round 
one  bears  the  portrait  of  Deck ;  corner  bosses 
of  faience. 

Deck,  Theodore.     La  Faience.  Paris,  1887. 


EMBROIDERED   BINDINGS— 
ON   LINEN 

183  T^NGLISH  binding  of  the  17th  century; 
Vld  embroidered  with  colored  silks  and  sil- 
ver thread.     (17.3  x  11.5  cm.) 

The  Vision  of  Jotiah  is  represented  on  the 
60 


and  Curious  Bookbindings 

front  cover,  and  Jonah  and  the  Whale  on  the 
back  cover;  both  pictures  are  framed  by  a 
cartouche  and  surrounded  by  flowers;  the 
back  is  filled  with  flowers.  The  edges  of  the 
leaves  are  goflered  and  painted. 

S.,  I.     The   Genealogies   Recorded   in  the  Sacred 
Scriptures.  London,  1614. 


184  T7NGLISH  binding  of  the  17th  century, 
I  J  The  figures  on  this  remarkable  example 
of  embroidery  represent  Orpheus,  disguised 
in  Elizabethan  costume,  seated  on  a  bank  be- 
neath two  trees,  piping  to  a  cow,  and  a  man 
in  a  listening  attitude ;  and  Daphne,  partly 
nude,  her  arms  already  beginning  to  sprout, 
fleeing  from  the  cavalier  Apollo,  who  pur- 
sues her. 

The  flesh-parts  and  the  cow  are  of  em- 
broidered silk,  fastened  on  to  the  back- 
ground; the  clothes,  leaves  of  trees  and 
flowers  are  of  linen  worked  in  lace,  or  button- 
hole stitch,  padded  and  couched  on ;  the 
tree- trunks  are  also  stufled  and  sewed  on, 
and  the  ground  and  hair  are  done  in  various 
stitches  in  silk.  A  purl  flower  is  on  one  cover. 
The  back  is  in  two  long  panels,  and  is  em- 
broidered with  flowers,  butterflies,  trees,  a 
rabbit,  fish,  and  a  snail,  many  of  them  in 
high  relief 

61 


Exhibition  of  Silver^  Embroidered 

^H  "C^NGLISH  binding  of  the  17th  century. 
JL/  (14  X  9.6  cm.)  Embroidered  with  silver 
and  gold  thread,  and  colored  silks. 

A  crowned  female  figure,  holding  a  dove 
in  one  hand  and  a  snake  in  the  other,  is  em- 
broidered on  both  covers.  Single  flowers 
fill  each  of  the  four  panels  of  the  back.  The 
inscription  Be  Wise  As  Serpents  And  Inno- 
cent As  Doves^  For  Where  These  Two  In 
One  Are  Foun  That  Party  May  Expect  A 
Crowne,  And  Shal  A  Crowne  of  Glory  Have 
Being  Free  From  Death,  Hel  And  The 
Grave  surrounds  both  covers  and  the  back 
in  one  frame. 
Smith,  Samuel.  David's  Repentance.  London,  1637. 

186  T7NGLISH  binding  of  the  17th  century. 
l_j  (27.8x11  cm.)  Fine  needlework  in 
colored  silks  and  silver  threads;  pierced,  and 
engraved  silver  clasps. 

The  design  is  the  same  as  the  above. 

The  Book  of  Common  Prayer,  London,  1638. 
Bound  with  The  Holy  Bible,  1638,  and  The  Whole 
Book  of  Psalmes,  London,  1638. 

187  T7NGLISH  binding,  17th century;  flowers, 
J_I/  fruits,  and  birds  are  embroidered  in 
colored  silks  on  a  silver  background.  (11.6 
X  7.8  cm.) 

Wither,  G.    The  Psalmes  of  David,  1632,  with  The 
Hymns  and  Songs  of  the  Church,  1623. 

62 


and  Curious  Bookbindings 

1 88  T7NGLISH  binding,  17th  century.  (14.3  x 
JC/  8  cm.) 

On  the  front  cover  is  a  kneeling  figure  of 
a  man  holding  an  anchor,  and  surrounded 
by  clumsy  branches;  a  somewhat  similar 
figure  ornaments  the  back  cover.  The  faces 
and  hands  are  of  satin.  A  single  flower  fills 
each  of  the  four  panels  of  the  back. 

The  Holy  Bible.  London,  1657. 

189  T7NGLISH  binding,  17th  century;  em- 
Jj/  broidered  with  colored  silks  and  silver 
thread.     (11x6  cm.) 

The  New  Testament.  Cambridge,  1628. 

190  TT^NGLISH  binding,  17th  century;  em- 
X_>  broidered  with  silks  in  a  diaper  pattern, 
with  flowers  in  the  lozenges  and  at  the  inter- 
sections of  the  lines.     (10x7  cm.) 

The  Whole  Booke  of  Psalmes.  London,  1627. 

191  T7NGLISH  binding,  17th  century;  calf, 
\2j  with  the  design  worked  in  silver  thread 
and  cords,  in  high  relief  on  linen  which  is 
pasted  on  the  covers  and  back.  (27.6  x 
1 1.7  cm.) 

The  Whole  Booke  of  Psalmes.  London,  1682. 

192  /^^  ERMAN,  i8th  century;  embroidered 
VT  with  colored  silks,  gold  and  silver 
thread,  and  spangles.     (20.4  x  16  cm.) 

63 


Exhibition  of  Silver,  Embroidered 

The  Mother  and  Child,  in  very  fine  needle- 
work, is  surrounded  by  an  elaborate  pattern 
delicately  executed.     (A  fragment.) 

193  r^  ERMAN  binding,  early  19th  cen- 
vT  tury;  embroidered  with  colored  silks, 
gold  thread  and  spangles.     (18  x  10.3  cm.) 

The  arms  of  George  III.  are  on  one  cover 
and  a  basket  of  flowers  on  the  other. 
Staats-Kalendar,  1803.  Lauenberg. 

194  T  TALI  AN  binding,  17  th  century;  colored 
X  silks  and  silver  threads.  (37-3  x  25.5 
cm.) 

The  coat-of-arms  of  Pope  Benedict  XIII., 
to  whom  the  book  belonged,  is  embroidered 
on  both  covers. 

Kempis,  Thomas  a.     De  Imitatione  Christi. 

[n.  p.,  n.d.] 

195  AMERICAN  binding,  19th  century. 
±\.  (20.8  X  13.7  cm.) 

Lacroix,  Paul.     Ma  R^publique.  Paris,   1902. 


EMBROIDERED    BINDINGS— 
ON   VELVET 

196  T\UTCH    binding,   early    19th   century; 
\J  embroidered    with     gold     and     silver 

64 


and  Curious  Bookbindings 

thread,  cord,  braid  and  guimp.     (10.3x5.7 
cm.) 

The  design  is  couched  on,  in  the  style  of 
decoration  much  used  in  France  on  leather 
binding  of  the  period. 

Guarini,  Battista.      II  Pastor  Fido. 

Amsterdam,  1678. 


197  T7NGLISH  binding,  17th  century;  ma- 
Jl2j  roon  velvet  embroidered  with  silver 
thread;  silver  clasps.     (11  x  5.4  cm.) 


198  T7RENCH  binding  of  the  17th  century; 
X  purple  velvet,  embroidered  with  gold 
and  silver  thread  and  wire,  and  colored  silks. 
In  the  middle  of  each  cover  are  the  arms 
of  Marie  de  M^dicis,  and,  in  alternate  cor- 
ners, the  fleur-de-lis,  and  an  M  surmounted 
by  a  crown.  The  back  is  covered  with  a 
series  of  fleurs-de-lis. 

Loyos,  Jean  de.     L'Eupheme  des  Fran9ois. 

Bordeaux,  16 15. 


199  T7RENCH  binding,  19th  century ;  em- 
Jl  broidered  with  colored  silks  and  gold 
thread,  in  a  conventional  pattern.  (16  x  10 
cm.) 

Maintenon.     L'Esprit  de  I'Institut.         Paris,  1808. 

S  6s 


Exhibition  of  Silver^  Embroidered 

200 /^^  ERMAN  binding,  i8th  century;  em- 
\y  broidered  with  metal  and  colored 
threads.     (34.5  x  22  cm.) 

A  monogram,  H.  W.  H.^  surmounted  by  a 
crown,  on  the  front  cover. 

Unterthanigfte  Freudens-Verzeigung.    .     .    .    1741. 


201  r~^  ERMAN  binding,  i8th  century;  black 
Vj  velvet,  embroidered  with  black  beads 
in  a  pattern  similar  to  those  on  French  mo- 
saic bindings  by  Le  Monnier;  chased  silver 
clasps  with  death's  heads.     (9.4x16.7  cm.) 

Das  Neue  Teftament.  Zurich,  1740. 

202  r^  ERMAN  binding  of  the  i8th  century; 
VT  green  velvet,  embroidered  with  silver 
thread,  and  spangles.  On  the  front  cover 
the  initials  C.  C,  and  on  the  back  cover  M.  E., 
surmounted  by  a  coronet.     (14  x  8  cm.) 

Xavier  (St.  Francis).     Zehn  Freytagige  Verebrung. 

Cologne,  1750. 

203  TTALIAN  binding,  i8th  century;  red  vel- 
X.  vet  with  a  heavy  gold  thread  border 
around  the  covers  and  back.  (18  x  12.6  cm.) 

Missale  Romanum. 

204  OPANISH  binding,  i8th  century;  black 
O  velvet,  with  gold  and  silver  plate,  purl, 

66 


and  Curious  Bookbindings 

thread,  spangles  and  pieces  of  metal,  and 
colored  silks.     (35.4  x  25  cm.) 

A  remarkable  border  in  the  Italian  Renais- 
sance style,  with  twenty  medallions  of  metal 
copied  after  antique  cameos,  surrounds  both 
covers.  In  the  center  of  the  panels  so 
formed  are  the  arms  of  Charles  IV.  of  Spain, 
embroidered  and  appliqu6. 


205  QPANISH  binding,  17th  century;  em- 
O  broidered  on  velvet;  with  elaborate 
corner-pieces  of  gold  bullion,  and  a  central 
coat-of-arms,  of  Philip  V.  of  Spain(?),  in  gold, 
silver  and  colored  silks.  The  back  is  in  one 
long  panel.  The  clasp  is  of  pierced  and 
filigree  silver,  with  a  monogram  in  gold  wire. 
(23.3x6.3  cm.) 

Zatrilla,  Joseph.     Enganos  y  Desenganos  del  Pro- 
fane Amor.  Naples,  1688. 


206  QTAMPED  black  velvet  binding,  em- 
O  broidered  with  white  beads  of  different 
sizes  and  kinds,  and  black  jet  comer-pieces, 
in  the  Chinese  style  of  Le  Monnier.  Ger- 
man, i8th  century.    (13.2x6.8  cm.) 

Catechismus.  Zurich,  1754. 

67 


Exhibition  of  Silver^  Embroidered 


EMBROIDERED    BINDINGS— ON 
SILK   AND    SATIN 

207  TAUTCH  binding,  17th  century;  purple 
\J  silk,  embroidered  with  gold  thread,  seed 
pearls  and  colored  silks.    (19.3  x  12.5  cm.) 

A  border  of  flowers  in  colors  surrounds  a 
central  medallion,  and  corner-pieces  of  gold 
thread  and  pearls.  On  one  cover  the  medal- 
lion contains  a  figure  of  Faith  in  fine  needle- 
work; on  the  other,  Hope.  The  back  is 
divided  into  panels  containing  figures  like  the 
corner-pieces.  The  edges  of  the  leaves  are 
goffered. 
Het  Nieuwe  Testament.  Middelburch,  16 16. 

208  TTVUTCH  binding,  i8th  century;  red  satin, 
VJ  embroidered  with  colored  silks,  silver 
thread  and  wire.    ( 1 7.4  x  1 1  cm.) 

In  the  center  of  each  cover,  surrounded 
by  branches  of  flowers  and  birds,  is  a  medal- 
lion framed  with  silver  cord.  The  front 
medallion  represents  The  Woman  of  Samaria j 
the  back  one.  The  Virgin  and  Child.  The 
back  has  panels  of  flowers  and  birds. 
Biblia.  Leyden,  1599. 

68 


and  Curious  Bookbindings 

209  T^UTCH  binding,  i8th  century;  white  silk, 
\J  embroidered  with  colored  silks,  silver 
threads,  braid,  spangles  and  tinsel.  (9.8x5.5 
cm.) 

On  the  front  cover  is  a  bunch  of  flowers; 
on  the  back  cover,  two  winged  and  flaming 
hearts. 
Almanach.  Amsterdam  [1781]. 


210  T^UTCH  binding,  i8th  century.  White 
jlJ  silk,  embroidered  with  colored  silks,  sil- 
ver threads,  and  spangles. 

A  wreath  of  flowers  around  the  motto  Ne 
M^Oubliez  Pas^  on  the  front  cover,  and  a 
weeping  willow  and  a  tomb  on  the  back 
cover. 

Almanack.  Amsterdam  [1702]. 


I  T7NGLISH  binding,  17th  century.  (11x5.3 
\2j  cm.) 

Embroidery  of  colored  silks,  silver  thread, 
cord  and  spangles  on  white  satin. 

On  each  cover  is  a  large  flower  within  a 
heavy  cartouche ;  on  the  back,  conventional- 
ized flowers  in  five  panels. 

The  New  Testament.  London,  1627. 

With  the  Third  Part  of  the  Bible,  London,  1626. 
Two  volumes^  doubled. 

69 


Exhibition  of  Silver^  Embroidered 

212  T7NGLISH  binding  of  the  17th  century. 
X-j  (8.7x4.7  cm.) 

,  White  satin,  embroidered  with  a  large  tuHp 
in  colored  silks,  and  a  stem  in  gold  threads. 

Book  of  Psalmes.  London,  1637. 

213  T^NGLISH  binding  of  the  17th  century; 
J-^  embroidered  with  colored  silks,  gold 
and  silver  thread  and  cord,  purl  and  spangles. 
(22.7x17  cm.) 

A  large  tulip  in  needlework,  and  other 
small  flowers  in  purl,  fill  the  middle  of  both 
covers ;  they  are  protected  by  a  raised  arch 
of  silver  which  springs  from  the  bottom  of 
the  cover;  needlework  tulips  and  other 
flowers  and  leaves,  some  in  purl  and  some 
in  silk,  are  arranged  with  a  nice  sense  of 
decoration  around  the  outside.  Small  purl 
flowers  and  silk  flowers  are  embroidered  in 
the  five  panels  of  the  back. 

Biblia.  Venice,  Renner,  1483. 

214  T7NGLISH  binding  of  the  17th  century; 
X^  embroidered  with  colored  silks,  silver 
and  gold  cord  and  thread,  purl  and 
spangles.     (22.8  x  16.5  cm.) 

The  arrangement  of  both  covers  is  the 
same.     Four  round    corner    panels   and  a 
large  central  lozenge  are  formed  by  a  frame- 
70 


and  Curious  Bookbindings 

work  of  gold  cord,  somewhat  sparingly  com- 
bined with  silk  needlework,  in  a  design  of 
unusual  beauty.  The  comer  panels  have 
large  needlework  flowers,  the  central  panel 
an  episcopal  coat-of-arms  of  embroidered 
silk  apphque,  with  a  crest  of  an  angel  having 
gold  and  silver  wings  and  the  tunic  and 
the  face  painted;  four  other  panels  contain 
birds  and  insects.  The  background  is  cov- 
ered with  spangles.  The  back  is  treated 
like  the  comer-pieces. 

215  T7NGLISH  binding,  17th  century;  white 
JL/  satin,  embroidered  with  colored  silks, 
silver  cord  and  thread,  purl  and  spangles. 
(15.2x8.5  cm.) 

A  rose  within  a  circle,  with  flowers  and 
leaves  above  and  below,  ornaments  both 
covers ;  the  back  has  four  panels  each  with 
a  large  flower. 

The  Holy  Bible.  London,  1635. 

216  T7NGLISH  binding,  17th  century;  exe- 
X^  cuted  with  gold  and  silver  threads,  purl, 
spangles,  and  colored  silks.     {33.3  x  22  cm.) 

The  covers  have  a  representation  of  The 
Garden  of  Eden  and  The  Fall,  and,  at  the 
bottom  of  each,  the  inscription  A  Dream. 
The  back  has  four  panels  filled  with  birds, 

71 


Exhibition  of  Silver,  Embroidered 

insects,  trees,  and  other  forms.     The  edges 
of  the  leaves  are  goffered  and  painted. 

The  Book  of  Common   Prayer,   with  Holy  Bible, 
Book  of  Psalms,  and  Hymnal.        London,  1607. 

217  T7NGLISH  binding,  17th  century.  (17 
J_^  XII  cm.) 

The  front  cover  has  a  representation  of 
Rebecca  and  Jacob ;  the  back  cover  The 
Sacrifice  of  Isacu  j  in  panels  on  the  back  are 
a  fruit-tree,  a  parrot,  a  rose,  and  a  cat.  The 
clasps  are  missing.  The  edges  of  the  leaves 
are  goffered  and  painted. 

The  Book  of  Common  Prayer.  London,  1642. 

2x8  T7NGLISH  binding,  17th  century;  silk, 
jLj  embroidered  with  colored  silks,  spangles, 
silver  thread,  and  silver  wire ;  pierced  silver 
clasps.     (10.6x5.5  cm.) 

Each  cover  has  a  cartouche,  made  of  silver 
thread  and  embroidery,  containing  a  cher- 
ub's head,  and  surrounded  by  flowers. 

The  Booke  of  Common  Prayer.  London,  1630. 

219  T7NGLISH  binding,  17th  century;  black 
xld  satin,  with  silver  thread  and  guimp  em- 
broidery.    (27. 6x  II. 5  cm.) 

A  conventional  ornament  with  /  on  one 
side  and  T  on  the  other,  is  framed  by  an 
72 


and  Curious  Bookbindings 

oval  panel  having  comer-pieces  of  a  similar 
character.  The  back  is  broken  into  panels 
by  embroidered  bands. 

The  initials  are  those  of  John  Trickten^ 
who  received  the  book  from  Anne  Sadlier, 
daughter  of  Sir  Edward  Coke,  Lord  Chief 
Justice  of  England. 

The  Book  of  Common  Prayer,  London,  1636,  with 
The  Holy  Bible,  1612,  and  The  Whole  Book  of 
Psalmes,  1613. 

220  T7NGLISH  binding,  17th  century;  white 
\2j  silk,  embroidered  with  gold  and  silver, 
and  colored  silks.     (16  x  10.3  cm.) 

A  vase  with  sprays  of  large  flowers,  ex- 
tends from  the  back  into  the  covers;  trees, 
birds,  flowers,  insects,  and  a  snake  fill  the 
rest  of  the  boards. 

Godly  Observations.  Manuscript  written  about  1620. 

221  T^NGLISH,  17th  century;  silk,  embroid- 
X_l/  ered  with  colored  silks,  and  silver 
threads,  and  ornamented  with  miniatures 
painted  on  vellum.     (21.7  x  16.5  cm.) 

The  covers  are  bordered  with  gold  cord 
couched  on;  in  each  corner  is  an  intertwined 
rose  and  lily  surmounted  by  a  silver  crown. 
In  the  middle  of  the  front  cover,  framed  by 
crossed  branches  of  laurel  and  palm,  and  sur- 
mounted by   a   crown,   is    a   miniature   of 

6  73 


Exhibition  of  Silver^  Embroidered 

Charles  I.,  copied  from  a  colored  engraving 
in  the  book,  after  the  portrait  by  Nicolas 
Van  Der  Horst;  on  the  back  cover,  similarly 
framed,  is  a  miniature  of  Queen  Henrietta. 
The  back  is  broken  into  panels  with  gold 
cord.  The  silk  of  the  doublure  is  painted 
with  flowers. 

Le  Serre,  J.  P.  de.     Le  Miroir  qui  ne  Flate  point, 
dedi€  ^  leurs  Majestez  de  la  Grande  Bretagne. 

Bruxelles,  1632. 

222  T7NGLISH  binding  of  the  17th  century; 
\2j  silk  embroidered  with  gold  and  silver 
thread,  cord,  braid  and  spangles ;  the  figure 
of  a  man  on  both  covers ;  silver  clasps. 
Book-mark.     (15x9  cm.) 

Bible,  London,  1650,  with  The  Whole  Book  of 
Psalmes.  London,  1649. 

223  T7NGLISH  binding  of  the  17th  century; 
JC/  white  satin  embroidered  with  colored 
silks,  gold  cord  and  thread,  purl,  and  span- 
gles.    (10.4  X  5.8  cm.) 

A  large  branch  of  leaves  and  flowers  is  on 
the  covers,  and  a  single  flower  with  leaves  is 
worked  in  each  panel  of  the  back. 

Booke  of  Psalmes.  London,  1643. 


224  T7NGLISH  binding  of  the  17th  century; 
xli  embroidered   with   silver  thread,  purl, 

74 


and  Curious  Bookbindings 

spangles,  and  colored  silks  on  white  satin. 
(10.4  X  5.2  cm.) 

The  New  Testament,  London,  1633,  with  The  Whole 
Booke  of  Psalmes.  London,  1634. 

Two  volumes  bound  double. 

225  T7NGLISH  binding  of  the  17th  century; 
X_>  black  silk,  with  couching  of  gold  and 
silver  threads,  purl,  and  colored  silks. 
(17.6  X  II. 5  cm.) 

Flowers  and  leaves  in  a  vase  are  embroid- 
ered on  both  covers ;  the  four  panels  of  the 
back  have  flowers,  a  dog,  and  a  stag. 

The  Book  of  Common  Prayer.  London,  1642. 

226  T7NGLISH  binding  of  the  19th  century; 
Hd  embroidered  and  appliqu6  with  colored 
silks  and  spangles.     (23.3  x  13  cm.) 

Adelaide,  Jules.     La  L^gende  du  Violon  de  Faience. 

Paris,  1895. 

227  T7NGLISH  binding,  19th  century.  (9.3  x 
\2j  5.8  cm.)  Pink  silk  embroidered  with 
colored  silks,  gold  threads,  cord  and  spangles. 

A  conventionalized  tulip  growing  out  of 
the  ground,  with  a  cloud  over  it,  appears  on 
both  covers.  A  single  flower  is  in  each 
panel  of  the  back. 

The  Book  of  Common  Prayer.  London  [n.  d.]. 

With  Hymns  Ancient  and  Modern. 
Two  volumes  bound  double. 

75 


Exhibition  of  Silver^  Embroidered 

228  T7NGLISH  binding  of  the  19th  century; 
d  green  silk  by  Miss  May  Morris.  Em- 
broidered with  colored  silks,  gold  braid  and 
beads.     (20.2  x  23.7  cm.) 

A  conventional  pattern  of  flowers  and 
leaves  in'  the  manner  of  Cobden-Sanderson  is 
used;  the  initials  E.  L,  and  A,  C.  on  the 
front  cover. 

Lefebure,  E.      Embroidery.  London,  1888. 


229  T^RENCH  binding  of  the  17th  century; 
X  red  silk,  with  appliqu6  silk  panels ;  em- 
broidered with  colored  silks,  silver  thread  and 
cord,  and  spangles.     (8.6  x  5.3  cm.) 

L'Imitation  de  lesus.  Paris,  1642. 


230  T7RENCH  binding  of  the  17th  century;  a 
JL  painted  and  embroidered  head  of  Christ 
surrounded  by  a  heavy  cartouche  of  gold 
cord,  filled  in  solidly  to  protect  the  deli- 
cate surface,  and  needlework  flowers,  orna- 
ments the  front  cover.  Framed  in  the  same 
way  is  a  miniature  of  The  Virgin  on  the  back 
cover.  Both  paintings  are  copied  from  en- 
gravings in  the  book.  The  back  is  embroid- 
ered with  flowers  and  leaves.  (19.5  x  13  cm.) 

Exercise  Spirituel.  Paris,  1664. 

76 


and  Curious  Bookbindings 

231  T7RENCH  binding  of  the  i8th  century; 
X^  gold  thread  framework  around  colored 
engravings  of  Cupid.  The  picture  on  the 
front  cover  has  the  inscription  :  //  est  d^une 
humeur  fort  oubligeant ;  that  on  the  back 
cover,  Les  troi  inevitables.     (9.5  x  5  cm.) 

Etrennes  Mignonnes.  Liege,  1768. 


232  T7RENCH  work  of  the  i8th  century;  a 
X  panel  of  velvet,  embroidered  with  gold 
thread  and  cord  and  spangles,  is  set  in  a 
frame  of  straight-grain  morocco,  stamped 
with  gold.     (22.6  X  16  cm.) 


233  T7RENCH  binding  of  the  i8th  century; 
X^  white  silk,  embroidered  with  colored 
silks,  gold  thread  and  spangles  in  a  typical 
pattern  of  the  period ;  a  mirror  and  card-case 
in  the  doublure.     (9.8  x  5.7  cm.) 

Les  dons  de  I'amour.  Paris  [1799]. 


234  T^RENCH  binding  of  the  i8th  century ; 
X  white  silk,  embroidered  with  colored 
silks,  gold  and  silver,  and  spangles.  (9.3  x 
5.5  cm.) 

Etrennes  Mignonnes.  Li^ge  [1790]. 

6*  77 


Exhibition  of  Silver,  Embroidered 

235  T^RENCH  binding  of  the  i8th  century; 
X  white  silk,  with  a  pattern  of  flowers,  in  the 
Chinese  manner,  in  gold  wire  and  thread, 
purl,  beads,  and  spangles.     (14.2  x  8.5  cm.) 

Almanach  de  Milan.  Bruxelles,  1788. 


236  'pRENCH  binding  of  the  i8th  century; 
X^  red  satin,  embroidered  with  colored 
silks,  gold  and  silver.     (9.7  x  5.5  cm.) 

Etrennes  Mignonnes.  Liege,  1776. 


237  T7RENCH  binding  of  the  i8th  century; 

X     colored   silks,  and   gold  thread,  braid 

and    guimp,    and    purl,    on  white    satin. 
(9  X  5.8  cm.) 

Heures  de'die'es  au  Roy.  Paris,  1709. 


238  T7RENCH  binding  of  the  i8th  century; 
JL  white  silk,  embroidered  with  colored 
silks,  silver  and  gold  threads,  purl,  and 
spangles;  a  miniature,  framed  in  brass  and 
covered  with  glass,  is  set  in  the  middle  of 
each  cover ;  a  mirror  and  a  card-case  in  the 
doublure.     (9.7  x  5.8  cm.) 

The  miniature  on  the  front  cover  repre- 
sents the  head  of  a  woman,  and  is  painted 

78 


and  Curious  Bookbindings 

on  ivory,  with  the  jewels  of  tinsel  pasted  on ; 
that  on  the  back  cover  represents  an  altar 
with  two  hearts  on  it,  and  is  made  of  gold 
wire  and  tinsel. 
Le  Triumph  de  la  Vertue.  Paris  [n.  d.]. 


239  T7RENCH  binding  of  the  i8th  century; 
i  white  satin,  embroidered  with  silver 
threads,  colored  silks,  and  gold  and  silver 
spangles.     (10.1x5.5  cm.) 

In  the  middle  of  each  cover  is  a  framed 
miniature  painted  on  ivory;  one  is  the  por- 
trait of  a  man ;  the  other  represents  Cupid, 
with  the  anagram  O.  B.  I.  C.  Lui  beneath  it. 

La  Pratique  des  Amans.  Paris  [1788]. 

240  T7RENCH  binding  of  the  i8th  century; 
i  white  silk,  embroidered  with  gold  and 
silver  threads,  and  having  medallions  on  vel- 
lum, in  the  middle  of  each  cover.  (12.5  x  9.8 
cm.) 

A  framework  of  flowers,  birds  in  a  nest, 
and  a  true-lovers'-knot  frames  the  front  cover 
medallion,  which  bears  the  initials  H.  M., 
made  of  small  flowers.  The  back  cover 
medallion  contains  a  quiver,  tambourine, 
doves,  flowers  and  music. 

Almanach.  Li^ge,  1779. 

79 


Exhibition  of  Silver^  Embroidered 

241  T7RENCH  binding  of  the  i8th  century; 
X  pink  silk,  embroidered  with  silver  braid, 
guimp  and  spangles;  the  needlework  sur- 
rounds and  frames  emblems  painted  on  vel- 
lum, and  covered  with  isinglass.  (8.6  x  5.3 
cm.) 

Heures.  Paris,  1752. 


242  T7RENCH  binding  of  the  early  19th 
X  century;  white  satin,  embroidered  with 
colored  silks,  gold  thread  and  cord,  and 
spangles.  A  narrow  brass  frame,  in  the 
center  of  each  cover,  contains  a  miniature 
painted  on  ivory  and  covered  with  glass. 
One  painting  represents  a  child  carrying  a 
flower;  the  other,  a  cupid  chopping  a  heart 
with  an  axe.  (9.8  x  6  cm.) 
Les  Souvenirs  d'un  Troubadour.  Paris,  181 5. 


243  T7RENCH  binding  of  the  19th  century; 
X^  white  satin  embroidered  with  colored 
silks,  gold  thread  and  cord,  and  spangles; 
with  the  arms  of  the  Queen  of  Portugal  on 
the  front  cover,  and  a  bird  on  the  back  cover. 
In  a  remarkably  fresh  and  perfect  condition. 
(10.2x5.5  cm.) 

Diario  Ecclesiastico.  Lisbon,  1833. 

80 


and  Curious  Bookbindings 

244  T7RENCH  binding  of  the  19th  century; 
X  white  satin,  embroidered  with  colored 
silks,  gold  thread  and  cord,  and  spangles; 
with  the  arms  of  the  Queen  of  Portugal  on 
the  front  cover,  and  two  men  and  a  dog, 
under  a  tree,  on  the  back  cover.  (10.2  x  5.5 
cm.) 

Diario  Ecclesiastico.  Lisbon  [1824]. 

245  T7RENCH  binding  of  the  19th  century; 
X  green  silk,  with  embroidery  of  gold  cord 
and  thread,  and  gold  and  colored  spangles 
around  central  portrait  miniatures,  painted 
on  ivory  and  covered  with  isinglass.  A  look- 
ing-glass and  a  card-case  are  in  the  doublure. 
(9.6  X  7.2  cm.) 

Almanach  de  Li^ge.  Li^ge,  1813. 

246  T7RENCH  binding  of  the  19th  century; 
i  embroidered  with  gold  thread  and  cord, 
and  gold  and  colored  spangles.  The  mon- 
ogram ^5"  is  worked  on  both  covers. 
(9.8  X  4.5  cm.) 

Le  Nouvel  Almanach  de  Poche.  Lille,  1828. 


247  r~^  ERMAN  binding  of  the  i8th  century; 
Vj  pink  silk,  embroidered  with  gold  thread 
and  cord,  and  spangles.     The  border  is  in  a 
81 


Exhibition  of  Silver^  Embroidered 

pattern  similar  to  that  used  by  French  binders 
of  the  period,  and  surrounds  a  monogram 
surmounted  by  a  coronet.     (9.3  x  5.8  cm.) 

Schreib-Calendar.  Hamburg,  1779. 

248  r^  ERMAN  binding  of  the  17th  century; 
Vj  white  satin,  with  silver  wire  and  thread, 
and  spangles  used  in  the  embroidery,  part  of 
which  is  in  high  relief;  clasps  formed  of 
small  crucifixes.     (15.5  x  7  cm.) 

Communion- Buchlein.  Nuremberg,  1689. 

249  r^  ERMAN  binding  of  the  i8th  century; 
Vj  white  silk  back  and  blue  silk  covers, 
embroidered  with  colored  silks  and  gold 
thread,  and  painted.    (26.8  x  7.4  cm.) 

The  Good  Shepherd  is  represented  on  the 
front  cover,  and  St.  John  the  Baptist  on  the 
back  cover ;  the  back  has  a  scroll  of  flowers 
and  leaves.     The  flesh-parts  are  painted. 

Communion- Buchlein.  Nuremberg,  1704. 

250  /^  ERMAN  binding  of  the  i8th  century; 
Vj  white  satin,  embroidered  with  gold 
thread,  and  gold  and  silver  tinsel  in  a  diaper 
pattern.     (10.5  x  6.5  cm.) 

Almanac  de  Goettingen,  1779. 
82 


and  Curious  Bookbindings 

251  /^ERMAN  binding  of  the  i8th  century; 
VT  green  silk,  embroidered  with  gold 
thread  and  cord,  spangles  and  pieces  of 
metal;  a  mirror  in  the  front  doublure. 
(8.6x5.4  cm.) 
Sack-Kalendar.  Wien  [1800]. 


252  13 ED  Straight-grain  morocco,  tooled  in 
J\>  gold;  with  a  panel  of  white  watered 
silk,  embroidered  with  the  arms  of  a  cardinal 
in  colored  silks,  gold  and  silver  thread,  and 
spangles,  pasted  on  the  front  cover. 

Portfolio. 


253  T7NGLISH  binding  of  the  17th  century; 
JC/  brocade  silk  embroidered  with  plaited 
and  crinkled  straw,  couched  on  the  boards. 
(16.5  X  11.3  cm.) 

Rush,  Anthony.     A  President  for  a  Prince. 

London,  1566. 

254  AMERICAN  binding  of  the  19th  century; 
jl\.  embroidered  by  the  Society  of  Deco- 
rative Arts.  Pink  satin,  with  a  reproduction 
in  green  and  white  silks,  and  gold  thread,  of 
an  eighteenth  century  mosaic  binding  by  Le 
Monnier,  on  a  copy  of  La  Sainte  Bible 
which  is  in  the  British  Museum. 

Wheatley,  H.  B.     Les  Reliures  Remarquables. 

83 


Exhibition  of  Silver^  Embroidered 

255     A  MERICAN  binding  of  the  19th  century. 
1^\.  (17.7  X  10.8  cm.) 

B.,  E.  V.     Ros  Rosarum  Ex  Horto  Poetarum. 

London,  1885. 


256  AMERICAN  binding  of  the  19th  century; 
XJl  on  yellow  silk. 

The  same. 

257  A  MERICAN  binding  of  the  19th  century. 
±\.  (22  X  17.8  cm.) 

Davenport,  Cyril.     English  Embroidered  Bindings. 

London,  1899. 

258  AMERICAN  binding,  19th  century; 
l\.  satin,  embroidered  with  colored  silks 
and  ribbands  in  a  design  of  scrolls  and 
flowers.     (20.2  X  13.2  cm.) 

Adeline,  Jules.     La  L^gende  du  Violon  de  Faience. 

Paris,  1895. 

259  AMERICAN  binding  of  the  20th  cen- 
l\.  tury;  white  silk,  embroidered  with 
ribbands,  in  pink,  blue  and  greens,  forming 
flowers,  in  a  design  of  corner-pieces  and  a 
central  wreath,  on  both  covers,  and  worked 
solid  for  most  of  the  height  of  the  back. 
(17  X  10.4  cm.) 

Keats,  John.     Poetical  Works.  London,  1854. 

84 


and  Curious  Bookbindings 


BOOK-CASES 

260  T)RASS  book-cover.     (5.7x3.5  cm.) 

261  TV^  GRAN-CASE ;  silver-gilt,  chased  and 
X\^  set  with  corals,  and  a  large  piece  of 
rock-crystal ;  the  lid  is  fastened  at  the  ends 
by  means  of  a  long  pin  secured  with  triple 
chains.     Persian.     (12  x9  cm.) 

262  TV^ORAN-CASE,  silver,  and  silver-gilt, 
I\^  repousse  and  pierced ;  a  Russia  leather 
strap  with  brass  ornaments  is  fastened  to  the 
top  to  suspend  it  by.  Persian.  (15.2  x  10.2 
cm.) 


263  TV^ORAN-CASE,  of  steel,  without  oma- 
JA.  mentation. 


264  TV^ORAN-CASE,  silver  and  silver-gUt; 
X\.  chains  to  carry  it  by,  are  fastened  to 
the  top.       Persian.     (14  x  19.5  cm.) 

265  T7"0RAN-CASE;  silver  and  silver-gilt. 
JA.  Persian.     (9  x  14  cm.) 

85 


Exhibition  of  Curious  Bookbindings 

266  TV^ORAN-CASE;  silver,  and  silver-gilt. 
Xv  Persian.  Mended  with  old  Japanese 
leather. 

267  T)OOK-COVER,  embroidered  with  col- 
JD  ored  silks  and  gold  threads  on  satin. 
American,  19th  century. 

268  T3OOK-COVER,  linen,  embroidered  with 
JJ  colored  silks,  and  gold  and  silver  threads. 
American,  19th  century. 

269  TJOOK-COVER.  American,  19th century. 


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86 


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